Blog: Velvet

Interview with Jess Salomon

 
Photo: Susan Moss

Jessica is an up-and-comer in the international comedy scene.  She’s whip-smart, charming, worldly and disconcertingly crass all at once.  She’s also a former war crimes lawyer turned stand-up comedienne - AKA “a person who makes fantastic life choices” heralds her 90-year-old grandmother.

Jess hales from Montreal where she performs regularly at the Comedy Works and the Comedy Nest.  She has also performed in Ottawa, Toronto, London and Chicago, and auditioned for Just for Laughs. 

When she’s not writing and performing Jessica likes to check in with her old colleagues in The Hague.  She enjoys hearing how sad the war criminals are without her observational wit and storytelling to keep them going.  She believes they are jealous of her comedy audience and regret what they have done.

Enjoy the Q & A!

Interview with Anu Raina

I recently had the pleasure of learning about Anu Raina’s textile designs thanks to a comment she left on this blog.

Diversity is what makes the fabric of our culture (if you'll excuse the pun) so rich and vibrant.  Anu is a prime example of someone who has transformed adversity in her life into something constructive and beautiful, channeling painful experiences and memories to create luxurious textiles and innovative pieces.

Different materials such as paper, puff pigment, silk chiffon, India ink, wool, magazine clippings, staples, and even poetry have been juxtaposed in Anu’s work, thus mirroring the complexity of life.

Not surprisingly, Anu has won many awards and scholarships, including an artist in residence position at the prestigious Harbourfront Centre in Toronto with a six-month scholarship.

Enjoy the Q & A!

Your work is very personal, even emotional at times.  Where do you get your inspiration?

That is true. While making work, my hands follow my heart and one can sense that connection in my work. My inspiration comes from real life experiences and a strong urge to give an expression to them.

How did you get started as a textile designer? 

With a Degree in Biology from Delhi University, I jumped into Fashion and studied Fashion Design from London College of Fashion in 1997, (London, UK).  But something was still lacking.  I needed to express myself better and show more diversity in the media I was working with.  The Textile Design program at Sheridan College (Oakville) did just that for me. It helped me re-discover myself and introduced me to the conceptual and art side of designing.  It helped me understand what I was doing and why I was doing it.  I graduated with High Honours and the top Medal awarded by the Board of Governors Sheridan College in June 2010.

How have your life in Kashmir and/or move to Canada impacted your work?

The forced exodus of the community which I come from in Kashmir in 1990 and the every single day struggle that followed in settling down again away from home, left a deep impact on me.  Canada gave me a chance to re-establish myself and gave a new life to my work and creativity.  Although I derive a lot of inspiration from the rich craft culture of Kashmir, there is definitely a dark undercurrent to my work.

Your designs are very intricate.  What techniques do you use?

I work very intuitively in layers, both visually and conceptually. I am able to connect with my designs at a very emotional level using text, mark making with simple hand stitches, free hand drawing and various printing techniques that I learnt at Sheridan. I kinda know where to stop.

Whose work do you admire?

I'm in love with the work of Canadian Fibre Artist Dorothy Caldwell, there is so much depth in her work, it leaves me completely mesmerized. I also like the way Caitlin Erskine-Smith uses text in weaving her fabrics.

What direction would you like to give your work from here?

I want to make clothing and accessories that people can cherish for a long time for their originality, flair and simplicity and that do not die an untimely death of a six-month fashion cycle. I would like to be part of  LG Fashion week in Toronto some day soon.

When asked what else she would like to add, Anu had this to say:

I am deeply thankful to this country for giving me another chance and all the beautiful people I have met here.

***

She feels she owes a lot to Canada but with contributions such as hers, we are the ones who should feel lucky and enriched by her presence here.

Here are more samples of her work.

The B2 Spirit Jacket was an impressive undertaking where over 10,000 staples were used in making it.  Anu admits she went crazy stapling and actually sprained her wrist.  Now, if that’s not dedication...

 

This cool hand bag is another variation on the staple theme.

I LIVE IN NY is fabric (as seen above) that is available by the yard and is composed of silk chiffon, puff pigment print, and bees wax resist.  This exquisite detail is what made me fall in love with it.

 
 
Despite the dark undercurrent to many of her pieces, her work can also be quite witty at times.  Love her Splattered Milk Unisex Kitchen Apron (designed for men), complete with a printed recipe for a Mushroom Hazelnut Salad and the words - "And you thought I was only good in bed" - printed in bold.

You can see more pieces from her collection on her site.  Her blog is where she shares her inspiration and is worth the read.

 

Interview with Gregory Kenny - Kilowatt Studio

 

Gregory Kenny is the founder and head designer of Vancouver-based Kilowatt Studio.  His work first came to our attention with Nest and Pod, two cat (or small dog) beds that strike an elegant balance between luxury and simplicity.  His attention to detail, respect of craft, use of indigenous North American species, rigorous process of research and design are all part of Gregory’s signature style. 

  
 
As with all interviews, the objective with this one was to get to know the designer behind the great pieces coming out of Kilowatt Studio.  What I discovered in Kenny was the quintessential Canadian: talented, modest but confident, and inspired by his surroundings.  For instance, Slope was a commissioned piece inspired by the slopes of Whistler.

The West Coast seems to have a good cache of creative people who are making an important contribution to modern design in Canada.  Although some people criticize modern design as being sterile and lacking in character, you need only see Kenny’s work to recognize that that is a very narrow-minded view of this multifaceted aesthetic.  Hand crafted from wool, organic cotton, bamboo, and many other different species of wood, his pieces are nothing if not warm and approachable.

Enjoy the Q & A!

 
  
Where do you pull inspiration from?

Without question the single most influential medium for me is architecture. I’m envious of the endless roster of materials that are available and find myself reading the resource section in the back of architectural magazines to source new products. The availability of new technology is also very inspiring, from laser cutters and CNC machining, to large format printing, which offers endless colour possibilities.

Who's work do you admire?

A young woman named Elena Manferdini just hit my radar and I think her work is beautiful. She moves between fashion, furniture, product design and architecture seamlessly. Her “Fabric Tower” submission for a competition in Guizhou Province China is stunning.

Japanese architect, Tadao Ando, is always an inspiration, not only because he is self-taught(!) but also for his work in concrete.

What would be your dream commission?

Under the category of “be careful what you wish for” I would like to design a small shop/store. An acquaintance approached me some time ago about a salon she is hoping to open and my mind hasn’t stopped spinning since.
 
How would you characterize West Coast design as opposed to Canadian design in general?  Or can a distinction be made?

That’s a good question. In Vancouver, studio furniture leans towards the “warm wood” look, with a definite penchant for local species like Douglas Fir, Cedar and Western Maple, not surprising when you look at the city’s surroundings. Outside of that one distinction I think Vancouver is a melting pot of design styles influenced by the countless cultures the city has.

You have worked on several film and television sets.  What was your favourite project?

I was lucky enough to spend six weeks in the Canadian Rockies building sets for a large feature film. Sure it was the middle of winter but with mountains surrounding you as the sun comes up, you forget about the cold, for about one minute!

What would you like to design next?

I would love to design and build a large dining room table with three very West Coast elements, concrete, glass and a huge tree stump.

***

His high standards, his passion for the environment as well as his love of animals are beautifully illustrated in his work.

 

Interview with Yvonne Potter

One of the geat benefits that come with my job (if you can call it that when you’re having so much fun!) is having the opportunity to meet some interesting people, whether it is designers, customers, manufacturers, reps, etc.

Some of them have even become friends.  One such person is Yvonne Potter of Y DESIGN STUDIO.  I have loved hearing about her adventures in China where she travelled to find a manufacturer that could produce beautiful pieces that met with her high standards for quality.

With a Bachelor of Industrial Design, an apprenticeship in Milan and several years' worth of experience in designing, producing and marketing modern furniture, she is well versed in the realities of the furniture business in Canada (which are challenging to say the least), and has ultimately turned to China for the production of her pieces.  Some designers will not put too much emphasis on the fact that their products are made in China, but she totally embraces it, even pulling inspiration from it for her designs.  Her Vivian Stool, for instance, was inspired by 'working in China, specifically Mandarin characters which are little hieroglyphs.'  

She feels passionate about this issue: ‘’It's a shame that the West ignores China like it doesn't exist....it has had so much bad press even with the Olympics...  Their quality is improving rapidly (especially all the factories still in business during this recession) so it is exciting.’’  She adds: ‘’ A note to the critics of China - where do you think all the stuff from Pier One Imports and Home Sense comes from?!  Not to mention Nine West, Armani Exchange, Canadian Tire, Coach, I could go on and on and on.......!’’ 

Enjoy the Q & A!

You’ve worked on several projects.  Is there a project of which you are particularly proud?

Going to China, and producing my own line of furniture with a Chinese/American manufacturer.

Whose work do you find exciting?

Patricia Urquiola

Have you ever wanted to be anything but a designer?

Yes : architect, fashion designer, artist [not necessarily in that order !]

What are you going to design next?

Vivian with a back ! Then a chair version as well as matching cafe and kitchen tables. Oh, and a lounge chair called the "Relaxing Lady's Chair", inspired by Jasper Morrison's Thinking Man's Chair.

Yvonne has also worked on several design and renovation projects in the Ottawa area.  They include the following:

Black Cat Bistro
Black Cat Cafe
Urban Element Cooking School
Dale Smith Art Gallery
Galerie St. Laurent + Hill
Info Notaire Law Office
Cheekita!
McKinney Residence
Manx Pub

We look forward to seeing her next projects!

Interview with Peter Wehrspann

 

When we first set out on this great Modern Karibou adventure, one of our main aspirations was to work with Canadian designers that had strong social and environmental consciences.  Peter Wehrspann from Holtzundmetal certainly fits that bill.  He recognizes that our era requires a new way of looking at design and he tackles the unique problems we face today by challenging our traditional methods to solving them.

Whether it is through sourcing materials from local Forest Stewardship Council approved suppliers, using reclaimed wood from the Greater Toronto Area, serving as a role model for young people through the Boys & Girls Clubs, provoking discussions around consumerism, or collaborating with like-minded designers from other fields, Wehrspann’s holistic approach encourages change through information and education.

If you are anything like us, you might be curious to find out what drives this promising furniture designer.  Enjoy the Q & A!

You’ve indicated that you love working on custom pieces.  What’s your dream commission?

I believe I have had a couple dream commissions already. One was a collapsible chair custom designed for a member of Juno nominated band Elliot Brood. It was a wonderful project mainly because the client gave me a couple design parameters and the rest was up to me. It is best when the client knows somewhat about what they want i.e. they have a clear problem that needs a solution. A confident client helps guide the design process. Otherwise a designer might be left flailing in creative doldrums. This project allowed me to flex all my creative capabilities. It was one that needed not only aesthetic consideration but it also became my most bold engineering feat to date. Another exciting thing about this commission is its utility. The user sits, sings, and even stands on the chair while playing an energetic set. Once done the chair folds up in a tight package to fit neatly in the band's touring van.

Another project comes to mind as the 'dream' commission. Directly out of my studies in 2005, The Haliburton Development Corporation awarded me a bench commission. Shortly after, a family who's beloved daughter passed suddenly endowed my bench in her memory. No words can describe the gravity of this honour.

You’ve travelled, lived and studied abroad.  How have those experiences influenced your work?

Toronto, in some respects, can be compared to an awkward adolescent kid who is desperately trying to find his or her style. When travelling abroad to such locations as Japan, Sweden, Zurich it becomes like hanging out with the successful, cool kids. Their attitudes, style, and experience are passed on to this gangly teenager. He or she is able to refine their lifestyle.....Bad habits included. I am referring to rowdy, sotted football crowds.

I spent 3 months studying in Copenhagen. For the first 10 days of the course we took a bus trip that shuttled us to iconic design locales all across Scandinavia. Our professors made sure we catalogued, through hand sketches the architecture, furniture, and industrial design right down to floor mats and door hinges. It was an incredible experience. It was like downloading files into a computer. You can imagine the effect this would have on one’s creative sensibilities. Jorn Utzon--Danish Architect, Sydney Opera House--said something like: "...you take experiences in and slowly, over time they seep out." My work doesn't as much as seep as it does oozes Scandinavian influence. Something I am very proud of.

Would you say Canadian design has a distinct flavor? 

I think regionally this question is easier to answer. For instance, in Durham, Ontario there will be lot of rustic country furniture and architecture. Enough of it to label it a 'distinct' flavour. In Toronto with all the cultures represented, the only distinction is eclectic design. Mainstream flavour still seems to be defined externally rather than internally. Not to say there isn't many wonderful unique work being done, it's just that they have to find a market elsewhere such as in Europe or the United States to be successful. Foreign corporations who hit the right price point and a safe aesthetic still dominate the market. That being said, the numbers shows sales of modern furniture design is on the rise. More and more people are moving from rural areas to urban centers leading to higher density and smaller living spaces. Furniture is in need of being compact and multi-functional. The environmental push for greener solutions is leading to a lot of repurposing of used materials. The reclaimed rustic-modern furniture aesthetic to me seems quite prolific. It is this 'ecotone' that the Canadian market can snuggle up to with firm understanding.

Whose work do you admire?

Most of my work at this point is produced in a Co-operative shop in downtown Toronto. I admire my colleagues' work a lot. It is custom, original and it’s what puts food on the table for their families. Peter Fleming, furniture designer/maker, was a professor of mine at Sheridan where I attended design school. I hope my work at some point in my career can resemble his work's level of intelligence and resolve. There is a lot of talent in Toronto at this point. I believe young Toronto designers have a worldly empathy and class that allows for original and inspiring design.

Marcel Breuer was the first designer whose work I fell in love with. Others include Poul Kjærholm, Hans J. Wegner, Arne Jacobsen. I have been reading works by Janine M. Benyus, Christopher Alexander, and Jane Jacobs.

What outside your field inspires you?

Modern architecture always gets my blood flowing. I have been keen on new technologies lately. The latest robotics, electrical engineering, and transportation technologies projects such as the Maglev train. Lately I have been delving into biomimicry. Where nature is model, measure and mentor. I am applying for a masters in industrial design and 'biomimetics' has been at the core of my thesis research. Any design process or idea creation that encompasses a holistic approach, I am fond of. When biologists work with architects or engineers work with psychologists, you can be sure to get interesting solutions. My father is a psychiatric doctor and I think that has influenced the way I view the world. Thus, psychology and neurology always finds some way into my thought process.

Sunny days do wonders for inspiration also.

What would you want to be if not a designer?

I always wanted to be a professional athlete. I excelled at a few different sports, but being Canadian, hockey would of been my sport of choice. People I grew up with and I haven't seen for 10 or 15 years are always surprised to find out my current profession. I was a very physically and socially active teenager. I loved contact sports and I was the social convenor for my student counsel in my graduating year. I think people have trouble picturing an athlete as an artist. I try to use this element of surprise to my advantage.

My father is a doctor and my late grandfather was too. I guess part of me feels I should have followed in their footsteps. I believe this didn't happen for two reasons: I was never pressured by my parents--thank you--and I enjoyed my free time a lot.  

Where do you see your profession in 20 years?

In a way I am still defining my profession so it makes it difficult to define where it will be 20 years down the road. But I believe that’s just the struggle many young Canadian designers face today. A struggle that includes questions such as: How does one make a living dealing with such a small scale? Should I design for the mass market? If so, is going to the mass market selling out? If I go to the mass market does that mean overseas manufacturing? If I go overseas, am I being environmentally and socially irresponsible?

I view designers as problem solvers. I believe furniture and industrial designers will need to adapt to a rapidly changing playing field. There is a saturation level to every art. Independant designers will have to be on the edge of that change to make a difference and get noticed. As is needed in today's environment, designers in the future will have to be dynamic entrepreneurs with their fingers on the pulse of society. 

***

Below are samples of Peter Wehrspann's beautifully crafted pieces, which are a testament to his skill and unique creativity:

WTC Coffee Table (collaboration with Pietro Gagliano of TrueFalse Studio)

WTC Lounge Chair (collaboration with Pietro Gagliano of TrueFalse Studio)

WTC Media Stand (collaboration with Pietro Gagliano of TrueFalse Studio)

Now available through Modern Karibou.

Interview with Marcos Martinez from ebualà

Named best new design from an emergeng talent at last year’s international Furniture Fair of Valencia, the stackable and 100 percent recyclable chairs are part of the Air Chairs Collection created by Ebualà.  The collection has been featured in several Canadian and US magazines lately, including Metropolis and Intérieurs.  Although they praise its looks, not much more is known about what and who is behind it.

Valencia-based, Ebualà, is an award-winning multidisciplinary design firm formed by Javier Herrero, Lluïsa Morató and Marcos Martinez.  Despite the language barrier, Marcos Martinez graciously accepted to answer some of our questions.

What was the motivation, inspiration and/or design process behind the Air Chairs Collection?

Air Chairs was born with the idea to create a light collection with a contemporary aspect, but with a sense of humour!  We believe that it has turned out to be a fresh and young design.  A surface that contains its own structure. We hope we’ve achieved this.
 
Are there any special features that you would like to highlight that might not be visible at first glance?

Air Chairs pieces are voluminous and light at the same time. When you pile them up, you acquire so much space. The most important material in our design is the air - a very important factor to keep in mind when it needs to reach many markets around the world.

What would you say differentiates or sets apart contemporary Spanish design from today’s European design as a whole?

Every day it becomes more difficult to differentiate the different products as an “international style” has emerged. Information travels around the world faster than ever thanks to the net.  We try to create concepts that will be integrated into our products, the form being a result of a concept.  It doesn´t mean that the form isn’t important. But we like to offer a different way to see the world around us - a language that will translate our view of the world into our products by how they function and how they appear.

In these uncertain times, many designers have no choice but to adapt to the new realities.  How does ebualà plan on participating in this ‘new’ era?

It certainly seems that the times are changing, but probably not as fast as we would like them to. So we are trying to adapt ourselves to these times.  It would be a mistake to change slower, but if you change faster, success is not assured either. For instance, one of these changes for us has been to offer more sustainable products and in a more responsible manner.

Who’s work do you admire?

Bouroullec Brothers, Haeberli, Urquiola, La Granja, J. Morrison, ...

Worth repeating is the fact that the entire collection is recyclable and each piece can be used inside as well as outside.

Their website - http://ebuala.com/ - showcases some of their other great projects.

Interview with Matthew Kroeker

   

Camila Rocking Chair for HutJ

We first learned of Matthew Kroeker when we came across his gorgeous Camila Rocking Chair a couple of years ago.  When we saw some of his other pieces featured in the '10 Innovative Designers, IDS08' exhibit last year, we were hooked!

Kroeker who earned his education in industrial design at the Ontario College of Art and Design in Toronto, has since seen his experimental and forward-thinking furniture prototypes garner international attention and acclaim at the New York and Milan furniture fairs.

More than a year after first setting eyes on some of his work, we’re thrilled to be featuring one of his award-winning pieces – SPLINTER for Jane Hamley Wells – on Modern Karibou.

  

SPLINTER

We wanted to learn more about this home-grown, innovative designer who apparently likes to hide out in Winnipeg.  He graciously (and not without humour) accepted to answer some of our questions.

  Photo: Thomas Fricke

What specific object or experience changed how you think about design?
I remember being so blown away when I came to the realization that products actually had creators. I was baffled by the fact that we are surrounded by hundreds of artifacts in our daily routines yet the authors remained as anonymous as their profession. My fixation became somewhat of a distraction. In art class I was much more interested in sketching something the radiator in the corner than the arrangement of fruit in front of me. I would also study each component trying to grasp how they may have been produced and how I could possibly improve the design.
 
Does being based out of Winnipeg, Manitoba, influence your work in any way?
Winnipeg is a nice place to hide. Folks in Toronto, Vancouver and other major urban centers don’t know where it is or how to call here so they generally leave me alone. There’s lots of time to reflect in isolation from the rest of the design community which keeps me on my toes. I think any designer could be profoundly affected by the geographical and cultural surroundings of their youth. If you happen to grow up in a flat, frozen, mosquito-infested dump such as Winnipeg your work might look a bit like mine! I do love my city and I don’t think I’ll ever leave.
 
Who's work do you find exciting?
Patricia Urquiola’s ability to manipulate fabric and pattern into such striking forms never ceases to amaze me. I also appreciate the work of the Bouroullec brothers, Barber Osgerby, Richard Hutten and Tobias Wong to name a few. These are designers that represent thinking and strategies that differ from my own.

Who outside your field inspires you?
Anybody who has a creative vision and pursues it with precision and dedication. I am inspired and impressed by the stories of filmmakers, architects and entrepreneurs who’ve accomplished these huge undertakings. It certainly puts it all into perspective when I’m struggling on a simple chair design.

If you weren’t a designer, what would you do?
I would have ended up in California, working on visual effects and animation sequences for big motion pictures. I’ve always had a keen interest in that industry. In fact, when I was just a young lad I had the choice to pursue a career in film production or industrial design. I think I had this crazy idea that money was involved. I love what I do now but that’s not to say that I don’t look back from time to time. Maybe when I grow up I can do both.

No doubt whatever Kroeker decides to undertake in the future, his talent will help him rise to the challenge.  To prove the point, here are more samples of his work:

 

bristle for HutJ

oldstock

 saw table light for HutJ

  

saw (detail)