Category: Design

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
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
Graphic Design: Getting Started

If you’ve always loved visual art, and you’re looking to start a career that will pay you to do something you love, then you may be attracted to the idea of being a graphic designer. If it’s simply not practical to go back into full-time education, you may be wondering if there’s any way you can get started in graphic design. Here’s some news for you – you don’t need to sit in a classroom for a second to become a competent graphic designer! The following is a list of some of the best advice anyone can give to an aspiring designer…

Get your Creative Juices Flowing

From Wikimedia

If you’re dead set on pursuing graphic design, then the first thing you have to focus on is stimulating your creativity. Having some kind of background in art definitely helps, but it’s not essential. While you can do anything you set your mind to, true excellence in design certainly isn’t for everybody. You need to have at least a little creativity in your mindset, and a pretty extensive knowledge of art in general, the techniques that go into it, what works together and what doesn’t. If you’re just looking for a career path that will give you a decent paycheque, then graphic design probably isn’t the best thing to pursue.

Get the Right Tools

While there are ways to give yourself a decent foundation without spending a penny, if you’re serious about graphic design, you’ll eventually need to buy Photoshop. I’m not talking about the cheapskate alternatives like Elements here. I mean the real, fully-featured CS ones. If you’re still not quite sure whether or not graphic design is for you, then you may want to play around with more accessible magazine cover design or photo editing software. Ultimately, however, you’re going to need to get familiar with the standardized tools of the trade. The version you start with is largely up to you. Many designers will want to make sure they’re keeping up with the market, and will always buy the latest and greatest versions of software. However, more dated versions often contain all the tools and functions that you need to get a great start. Just make sure you do your research and weigh up the different features of the programs that are within your budget.

Buy a Tablet

Talk to most modern graphic designers, and they’ll tell you they can’t remember how they carried on before tablets came out. This young technology is the modern designer’s best friend, and you should have one to use when (not if) you need it. No matter how satisfied you are with using a computer now, there’s going to come a time where you’ll want a tablet, which will make things more free-flowing and flexible. There are a wide range of tablets out there designed specifically for graphic design. Just like the editing software you’ll use, you can generally get by fine with a mid-range model.

Mac or PC?

Of course, you’re also going to need a computer to start developing your graphic design skills. You probably have a computer already that does a fair job of accommodating all the functions you need. However, when you start to carve out a more definite career path, you’ll need to invest in a computer and monitor that’s better suited to graphic design. There’s nothing worse than a system that takes far too long to respond, and any designer will tell you that photoshop can really eat up your computer’s available space and resources. When it comes to the decision of getting a Mac or a PC, it’s really down to your personal preference. Macs seem to be more common in the graphic design field, but in terms of function, there’s very little measurable difference. Weigh up the differences in the interface, make sure you have enough RAM and processing power, and make your decision based on what feels right.

Stockpile your Fonts

From Flickr

When you’re ready to actually to sit down and start designing, you’re going to want to have a number of fonts to hand. Luckily, fonts are more accessible than they’ve ever been. There are many websites that will allow you to download a range of fonts for free or very little cost, and start using them instantly in Photoshop. As you start stocking up on fonts, just make sure that you’re sticking to the license terms, which will vary from font to font.

Practice Makes Perfect!

Just like pretty much anything, the best way to develop your skills with photoshop is to start using it. Open up a new document and test out all the tools you have with your version. Look up some YouTube tutorials, and follow them through. Import a photo of your friend and try to add a few funny effects to it. The main tip I can offer here is don’t be lazy! It takes hours upon hours of work to get comfortable enough with Photoshop to use all of its functions without needing to look up any information online. You’ll need a lot of patience and persistence to get to the point where you’re as competent as your average graphic designer.

Find your Niche

As you carry on using Photoshop and trying out different things, you’ll naturally begin to develop your own unique style. This is going to be a major selling point as you pursue a career in design. Right now, you may be struggling to even copy the things you’ve seen other graphic designers do. Just keep getting out of your comfort zone, trying new approaches to old problems, and honing your existing skills. Your own style will come naturally, but if you want to speed things up, try looking at the work of a few designers you admire, learning how to imitate their techniques, and finding a way to combine those different styles. Drawing on inspiration like this is a great way to figure out the little tweaks and quirks you can apply to your original work that will distinguish you from other designers.

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March 29, 2015
A O Ü T

AOÜT is a French creative studio founded by Alizée Demetz and Camille Tricoire. As a multidisciplinary studio, they work on projects ranging from artistic direction and graphic design to product design.

One of their first collaborations has resulted in creating a minimalist jewellery collection made of brass and rope. The collection embodies simple geometrical, uncluttered forms and was inspired by architectural and design movements such as Memphis and Archizoom. All the pieces are handmade and assembled in Alizée’s and Camille’s workshop located in Paris.

Have a look at the final result of their work, showcased through as series of colourful still life photography and find out more about AOÜT on their website.

www.studio-aout.com

February 17, 2015
ODE TO A

ODE TO A is a new London based design label founded by brand manager Noëlle Maxine Tierie and designer Sabrina Kraus López. The idea behind the label took shape after Sabrina travelled to Peru to learn from and work with the remote weaving community of Patacancha. Upon her return to London, Sabrina met Noëlle and started working on ODE TO A’s concept.

ODE TO A aims to collaborate with artisan communities from across the globe to create limited edition collection that showcase long-practised skills in sleek modern designs, creating a new aesthetic and value in traditional craft.

We got in touch with ODE TO A’s founders to find out more about their label. Read the interview after the photos and support their Kickstarter campaign.

www.ode-to-a.com

Photos by Jess Maddock and Sarah Blais

Please tell us a little bit about yourselves and your backgrounds.

Sabrina: I was raised in Geneva Switzerland but originally from Colombian/ US parents, at a young age I discovered my passion for textiles and the fashion industry. After high school I moved to Milan Italy to study my BA in fashion design. Intrigued by something more meaningful and with an emphasis on textiles I move to London to pursue my master’s degree in Textile Futures (now named Material Futures) at Central Saint Martins. Combining research led design and my fascination for craft I worked with a remote Peruvian weaving community for my final MA project before undertaking the Common Thread residency in Morocco commissioned by the British Council.

Noëlle: I was born and raised in the Netherlands, where I quickly fell in love with Amsterdam. After four years of exploring and studying in this dynamic city I wanted to do something for myself, explore more who I am and what my passion was within the fashion industry, so I decided to move to Florence. Which was probably one of the best decisions I have ever made, who doesn’t want to live in a city which feels like one big museum, full with hidden gems and crafts all around you?

During that year, while studying a Fashion Brand Management Master at Polimoda, I discovered my love for craft, cultures and communication. There it was, I found my passion within the fashion industry, recently found but a wonderful discovery. With a hunger for new adventures and with new inspiration, I moved to London.

What made you start Ode to A?

Sabrina: I had recently finished my MA and had just returned from my British Council residency in Morocco where over a one-month period I worked with six artisans to create the Common Thread collection, a series of bespoke hand woven rugs inspired by the Berber’s heritage, surroundings and personal stories. It was end of September after LDF excitement and it was time for me to find a job if I wanted to stay in London! Fortunately Noelle had rented out my room in London while I was in Morocco and we had met when I came back. We had both had unfulfilling experiences working for fashion brands and were looking for something more meaningful. Both fascinated by craftsmanship, traditions and how collaboration could be a tool to revive these, we decided to join forces to create a brand that would celebrate just this!

Noëlle: After interning at several fashion brands I discovered that I wanted to do something, which I am truly passionate about. When I met Sabrina and when I heard about the amazing projects that she had been working on so far, I was immediately super enthusiastic. The blend of modern and contemporary design with traditional craft, sounded so perfect. Shortly after we met, we had a brainstorm in a Vietnamese restaurant in Shoreditch where we decided to create a platform together for this concept, ODE TO A.

Tell us more about your collaboration process with artisan communities. How do you choose them and start the process?

Sabrina: All craft communities around the globe have a very powerful tool that is a specific skill that has been passed from generation to generation. These craft skills are embedded into the communities traditions and are a way of preserving their culture. Unfortunately most of these remote communities are having difficulties competing with mass produced products and the possibility of selling to a broader market. This due to various reasons, one of them being how remote the communities are from strategic selling areas and secondly the gap between craft and design. There is a beauty in every craft that comes with heritage and culture, we search for communities that are interested in doing a series of workshops with us that will enable them to merge design and craft to create limited edition collections. We aim to live with the communities for a certain period of time to understand their culture and the richness of their craft. It is important that the culture of the community is preserved in the new designs, but that instead of telling stories of their ancestors it tells stories of the people who craft them at present. It is not about being nostalgic about the past, but more about keeping the primal essence from the past to be able to make it last into the far future.

Noëlle: I believe that we are born with the need to craft, shape and create. Unfortunately this is most of the time only expressed while being young, when you still draw or create shapes with modelling clay. What is so special about these craft communities, for them, mastering a craft is stimulated and developed from when they were very young and that is how the skills pass on to the new generations. These special techniques and traditions unfortunately stay unseen or not heard of. This because crafts are mostly practised and mastered within a closed community.

So, the skills and the story are already there, what we do is that we explore and try to reach out to these communities. Once we’ve come across such a community we explore and try to understand their culture and values. Meanwhile we collaborate with these artisans to create a unique collection that celebrates their traditions. These products are a blend of traditional and contemporary design, which creates a new place in the western world for craftsmanship.

You have already worked on an accessories and rugs collections, what’s next?

Sabrina: This is probably the most exciting part! There are endless possibilities to what is next and this is what drives us every day! We are currently still working with the community of Patacancha in Peru and still in contact with the Amazigh artisans in Morocco. It is important to us that we keep working with communities for at least two collections, in the hopes that they can after that design their own contemporary textiles independently! We have a few new contacts in different parts of the world, it is surprising how the younger generations are not picking up and are not interested in keeping their craft alive. I believe it is only possible to make a change by demonstrating to the communities that their traditions and skills do have a value in todays world!

Noëlle: The last months have been very busy, and we have met a lot of new interesting people. For example Sabrina went to the Chiang Mai Design week in December and she opened our network met so many wonderful and skilled people and that combined with the network that we’ve build up over the last few years, make a lot of interesting contacts. For now we are concentrated on succeeding with our Kickstarter campaign and after that we can focus more on the future. But we are very openminded with collaborations and there are still so many crafts to explore, so it will definitely be exciting !

What are Ode to A’s plans in 2015?

Sabrina & Noelle: We currently very busy with our Kickstarter campaign and doing everything we can to make it a successful one! This will enable us to produce our first limited edition collection with the weavers in Patacancha and start designing our new collection with them for A/W 2015. We also have a few very exciting collaborations that we are brainstorming about for the near future!

February 9, 2015