Author: Igor

Cover & Couch

Cover & Couch is an Antwerp-based upholstery studio founded by Sophie Doore 5 years ago, working with vintage dealers, interior architects and private clients. Sophie also designs her own line of cushions focusing on geometrical patterns, inspired by the rich and bold colours of the high quality fabrics she uses.

In September last year, Sophie relocated her studio to the top floor of design store City Furniture in an upcoming neighbourhood for vintage design in Antwerp’s city centre. We caught up with Sophie to find out how her love for upholstery started, her favourite projects and future plans.

www.covercouch.tumblr.com

Find out more about Antwerp in our Antwerp City Guide.

How did you become interested in upholstery?

Feeling the need to work with my hands, I always wanted to do something connected to restoration. While working in an Art bookshop, design books also captured my attention. Thanks to my job in a small weaving house, I began to appreciate the beauty of fabrics. Enrolling in an upholstery course was an impulsive decision. It was worth a try, not really knowing where it would lead me, but it was much better than what I expected.

How did Cover & Couch start?

During my studies I was already getting some orders. Upholstery is often associated with an old fashioned or a dusty workspace and I wanted to get rid of that image. I’ve been slowly building up my business for almost 6 years – mostly through word of mouth. Since September last year I’ve been working in a bigger studio in the centre of Antwerp, collaborating with a vintage dealer. My studio is above the shop. I work for private clients, vintage dealers, interior architects, designers, etc. I like working alone, interspersed with visits by clients.

Tell us about your process. How do you choose your fabrics, come up with a design, etc.?

It’s a new challenge each time. That’s what makes it so interesting.

First, I discuss the project with the client. Considering their preferences, their interior, their budget, etc. I have a wide range of high quality fabric samples. I try to advise as best as possible and I take a lot of detailed photos of the old upholstery before taking it off. I also like to do the necessary research if the old upholstery is no longer available.

Then, with respect for the original design, the reconstruction commences. I can apply classic methods where natural fibres are shaped by hand stitching. Other (modern) designs need to be redone with foam possessing the correct density for shape and comfort. During this process it’s very important that I respect the proportions and keep a meticulous eye on details. Every action influences the final result and I get really inspired when I see a piece growing closer to what I have in mind, custom made.

The fabrics themselves can also be my inspiration. I combine colours and textures into geometrical patterns. This resulted in a collection of cushions and I named them after people who inspire me: (Gio) Ponti, Gunta (Stölzl), Tapio (Wirkkala).

Is there any particular type of furniture or furniture from a specific time period that inspires you the most?

I would say mid-century. I must admit that I have a chair obsession – even an abandoned broken chair can catch my attention. I recently found a Pierre Paulin Oyster chair in the street!

What are your favourite projects you’ve worked on?

The Penguin chairs for City Furniture and the Daybed for Muller van Severen/Kvadrat (both pictured below). I was involved from the inception of the project. It’s a very clear design although the 60 pieces Divina fabric were cut and placed/rolled by hand.

What are Cover & Couch’s future plans?

Improving my business and setting up an e-commerce platform for my cushions – a new collection is coming up soon. I’m experimenting with silkscreens on fabric and leather and more prototyping would be great.

Studio images and portraits of Sophie by Ilse Liekens
Chair images by City Furniture

April 28, 2015
The major benefits of getting your driver’s license in your 30s

Getting a driver’s license is a significant milestone for many people, but it’s not uncommon for individuals to delay obtaining their license until later in life. In fact, getting a driver’s license in your 30s can have several benefits over obtaining one earlier in life. In this article, we’ll explore the three major benefits of getting your driver’s license in your 30s: life experience, finances, and maturity.

Experience

One of the main benefits of getting your driver’s license in your 30s is the life experience you’ve gained since your teenage years. You’ve learned how to navigate new cities, airports, and public transportation systems. These experiences can give you a better sense of direction, a greater understanding of traffic patterns, and more confidence on the road.

In addition to your personal experiences, you may have also gained valuable life skills that can translate to driving. For example, if you’ve been a parent or caregiver, you’ve likely developed patience, multitasking abilities, and the ability to handle stress. These skills can be applied to driving, making you a safer and more confident driver on the road.

Finances

You are far more likely to have more financial stability in your 30s than when you were a teenager. This can make it easier for you to purchase a car or afford car insurance. Additionally, you may have more experience with budgeting and financial planning, which can help you make smarter decisions about car-related expenses and buy a more desirable car. For example, you might be able to afford to buy a used BMW as your first car rather than a more generic Ford Focus or Vauxhall Corsa.

Having a driver’s license can also open new job opportunities that require driving. For example, if you work in sales, marketing, or any other field that requires you to travel frequently, having a driver’s license can be an asset. This can lead to higher-paying jobs and more financial security in the long run.

Maturity

As an adult, you’ve likely developed better decision-making skills, which can be applied to driving. You’re less likely to engage in risky behaviours like speeding, drunk driving, or distracted driving. You’re also more likely to take driving safety seriously and follow traffic rules and regulations.

In addition to your decision-making skills, you’ve likely developed emotional maturity as well. You may be better equipped to handle road rage or other stressful situations on the road. You’re also more likely to be patient and understanding of other drivers’ mistakes or inexperience.

Confidence

Another significant benefit of getting your driver’s license in your 30s is the boost in confidence that it can provide. As an adult, you’ve likely developed a stronger sense of self and a greater understanding of your capabilities. This self-assuredness can translate to your driving, making you a more confident and skilled driver on the road.

Driving can be an intimidating and nerve-wracking experience, particularly for those who are inexperienced or have had negative experiences on the road in the past. However, with age and maturity comes a greater ability to handle stress and anxiety. You may be more capable of managing nervousness or fear while driving, allowing you to feel more comfortable and safer behind the wheel.

April 27, 2015
Recovering from injury | Ultimate Guide

Recovering from an injury is a long process in most cases and can take weeks, months, and in some extreme cases several years. There are many precautions to take when recovering from an injury and doing the right things in the right measure is crucial to a healthy recovery. From sleeping well, eating healthy, and yes even exercising, you will find out how well your body responds to proper care. In this ultimate guide to recovering from an injury you’ll discover how to optimize your body’s healing response and proper steps on the road to healing.

Rest

Proper rest is an essential of recovering from an injury and great sleep is a major component in healing well. Sleeping well means you are getting at least 8 hours of uninterrupted sleeping during the night. Research also suggests that women may need more sleep. Sleep helps regulate our hormones, strengthen our immune system, and has many other benefits for our health.

Try going to bed earlier and turning off all distractions at least an hour before bed including the Tv and cell phones. Create a soothing and relaxing environment to encourage sleep. Also a cool dark room helps with a good night’s sleep. Lastly, don’t forget that an occasional nap never hurts when recovering from an injury. Resting helps our bodies heal and repair themselves so it’s important to not overexert ourselves and develop better sleeping habits.

Healthy Eating

It is no surprise that food plays a huge role in recovering from an injury. What goes into our bodies often determines how our bodies will look and feel. The same applies for recovering from an injury. Eating nutrient dense foods and foods high in antioxidants helps the body heal and strengthens our immune system.

Consume foods high in calcium, iron, and anti-inflammatory properties. Some examples are mushrooms, peppers, dark leafy greens, broccoli, and many other fruits and vegetables. Incorporate healthy food for a healthy recovery.

Peptides

Peptides are being studied for their effect on the systems within living organisms such as animals. Studies on animals treated with the peptide sermorelin showed improved cardiac health. Research is being further conducted on healing peptides https://www.peptidesciences.com/blog/healing-peptides and their ability to help during injury recovery.

Exercise

While exercise may be minimized during injury recovery it does not have to be eliminated altogether. Your doctor may suggest light exercises to keep your body in shape and energized. Even after major surgeries in the hospital patients are encouraged to start walking the halls and get their bodies moving as soon as possible. This helps to promote blood flow throughout the body which helps heal wounds and injuries and avoid serious complications such as blood clots.

Check with your doctor to see which physical activities are approved during injury recovery.

Medical Follow Ups

Don’t stop seeing your primary care doctor after an injury. Make follow up appointments until you are fully recovered. This ensures that you are healing properly and protects you from complicating your injury. Doctors can also give you access to proper medical treatments and prescriptions if needed during the time you are recovering from an injury.

Support System

Recovering from an injury is not only a long and slow process it can feel like a lonely one too. Find a support system to help you stay positive, hopeful, and motivated to regain your health. You can do this by searching for groups on social media where people with similar injuries offer each other support and advice.

Having a strong support system during injury recovery allows you to feel less alone and can even help you discover how you can help others in their healing journey. Recovering from an injury doesn’t have to be miserable. Being equipped with the right information, processes, and having like-minded support you’ll find yourself recovering from your injury in no time.

April 25, 2015
Act

Act is an espadrilles and accessories brand based between Mallorca and Berlin founded by Isabel Rotger and Alex Drobovolny in 2013. After working in communication for several fashion companies, Isabel moved to Berlin and met Alex, CEO of Label Agent. They came up with the idea of Act on a Friday afternoon and the week after, they were already looking for manufacturers for their first collection.

Act is born out of the Mediterranean and each of the brand’s collections is designed around a concept of an everyday, spontaneous act, using series instead of seasons. In 2014, Act launched their first series “Walking” and in 2015 the brand has focused on “Living Room” as the topic for their collection. Act’s great attention to detail not only shows on their products, hand-made in Spain using 100% natural leather and suede, but on the campaigns for their series and the design of their website and promotional materials.

Isabel and Alex have just embarked on their next adventure and have started collaborating on the design of their first sunglasses collection and a line of sweaters that will see the light later this year.

www.act-series.com

Studio photographs by Alex Marcús

April 15, 2015
Monochrome Lab

Monochrome Lab is a new graphic design studio founded by Glasgow-based Dutch designer Bart Manders. After studying Graphic Design at the Willem de Kooning Academy in Rotterdam and an exchange year at Glasgow School of Art, Bart started working on numerous projects for galleries and festivals such as The Telfer Gallery, GoMA and Glasgow International Festival of Visual Art, and started Monochrome Lab in February 2015. We caught up with Bart to find out more about his studio, what made him choose graphic design as a career and the differences in design trends between Glasgow and the Netherlands.

www.monochromelab.net

Please describe your path to becoming a graphic designer.

I was born and raised in the Netherlands and from an early age it became clear that I had a creative mind. After high school I went on to do a college course in Communication and Design where the curriculum of the first 2 years consisted of all kinds of creative disciplines such as industrial design, graphic design, styling and photography. When I finished high school I was unsure about what kind of creative course I wanted to do so this particular course offered me the opportunity to put off the decision making for a few more years. I ended up graduating in Styling and Applied Spatial Design, which could be described as a mix of industrial design and (interior) architecture.

When graduating, I realised my true passion was actually graphic design, and after a gap year, during which I researched Dutch art schools, I started a course in Graphic Design at the Willem de Kooning Academy in Rotterdam. I had a bit of a bumpy start, having trouble adapting to the course curriculum and thinking about transferring to the Fine Art department. Eventually though, I had a really good 3rd year which ended with a publication I had designed being nominated for a regional design award. During this year I had met a lot of people who were on exchange from various places, and as I had visited Glasgow for the first time the year before, I decided I wanted to do an exchange at the Glasgow School of Art, which I ended up doing in late 2008.

After my exchange I did two internships, which are mandatory in most Dutch art schools; one with a magazine designer who had been my tutor during my second year and one with two designers who I had become friends with, that were running a joint independent online design project called Connected Project. I had a somewhat troublesome, yet positively minded graduation period and after a few months of thinking about what I wanted to do next I decided to move to Glasgow as I had been wanting to spend more time there since my exchange. I still had quite a few contacts in Glasgow and only 2 months after my move there I got offered my first project which was an exhibition poster for a local artist collective called The Mutual, after which I ended up doing 2 more poster projects for them.

In the summer of 2011 I met Marc Cairns, an architectural designer, at an exhibition opening by The Mutual and in 2011 I was invited to join him and a few other people to run a new exhibition space called the Telfer Gallery as a committee, for which I’ve been doing the in-house graphic design as well as filling the shared role of programme coordinator. The Telfer Gallery has so far brought me the most consistency in my design career as well as some other projects I did for organisations such as GoMA and projects related to GI, the Glasgow International Festival of Visual Art, things I would have never been involved in if it hadn’t been for The Telfer Gallery.

What made you start your own design studio?

In April 2014 I had sacrificed a stable income from a rather uninteresting retail job to free myself up for doing more freelance work. By the time it was Christmas, I had done projects for Glasgow University Magazine, an exhibition for Glasgow Open House Art Festival, a vinyl sleeve design for a local band and 2 projects for Wasps Studios. I had just started redeveloping The Telfer Gallery’s visual identity for its 2015 programme and I felt I needed to come across as a somewhat more settled designer instead of that designer who’s out and about doing jobs here and there. That’s when I decided to start working under a studio name, and after preparing for it for two months I launched Monochrome Lab last February.

You’re from the Netherlands but live in Glasgow. Do you see any differences in design trends and aesthetics between these two places?

Definitely, but I have to say that especially in the Netherlands it’s hard to define design trends. The very basis of good graphic design is to be able to organise and (re)structure information, to communicate. In the Netherlands I guess there isn’t a specific visual style, but more a way of thinking. It’s a place where the visual basics of graphic design are so established and common that on top of that graphic designers have become much more conceptual, finding intelligent ways to connect information to a certain context and experiment with images. In Glasgow I feel many design studios have only just started mastering the very basics over the past few years.

What inspires your work? What other designers do you admire?

I’m mainly inspired by designs with an innovative way of applying typography and white space, but I’m also very fond of really primary things like geometric shapes and illustrators. In art school I admired well respected designers such as Wim Crouwel, Experimental Jetset and Karel Martens but nowadays it has shifted more towards less known Rotterdam-based designers like Almost Modern and my old classmates at OONA.

What are your plans with Monochrome Lab for the upcoming months?

Well, I’ve just landed a long-term visual identity project with the Scottish Sculpture Workshop in Lumsden, Aberdeenshire and I’ve also just started a new collaboration with Wasps Studios which involves designing signage for a travelling project space. There is also a considerable Telfer Gallery workload as the size of it has slightly increased due to the higher standards for its printed materials this year. This year I’m also hoping to get involved in some publication design again, either as a self initiated project or as a freelance job. But as many independent designers can testify, one’s workload can unexpectedly increase as projects aren’t usually planned very far ahead.

April 1, 2015