The Dots #16 - Milan Design Week 2019

Title

10 YEARS OF CONNECTING THE DOTS

INTERVIEWS: Wendy Plomp, Margriet Vollenberg, Gijs Bakker, Marcel Wanders + 6 others

by Viveka van de Vliet RETROSPECTIVE: 10 years Dutch Design in Milan

by Monique van Empel

GUIDE: DAE, Moooi, Masterly, Ventura Centrale, Dutch Invertuals, Design Language, Ventura Future + 200 other NL exhibitors

COLUMN: Lucas Verweij

(turn the magazine)

Dutch Design Milan 2019 Yearbook 1

OPEN CALL

Title

SUBMIT BEFORE JUNE 1ST

In this edition, we look back at the past decade on the basis of ten interviews with designers that were all the rage in Milan in 2010. What were they working on back then, what was their perspective? And how important is the salone to them? Journalist Viveka van de Vliet interviewed Marjan van Aubel, Marcel Wanders, Margriet Vollenberg, Gijs Bakker, and six others. This year, Boudewijn Bollmann, our resident photographer, again captured their likeness, which he did most often of all the photographers who took over 150 portraits, and once again with great commitment (follow that man). Lucas Verweij researches the shelf life of the concept of Dutch Design in his co­lumn on page 10. And Monique van Empel delves into the archives and reports on her high­ lights of the past decade and the changes she has observed in Milan (page 29 to 33).

A city state of design David Heldt You are holding the tenth Milan edition of The Dots. For ten years, we have successfully brought together Dutch Design in order to offer a better overview and make it more accessible in the midst of the design cacophony of the world’s most im­ portant design fair, Milan Design Week.

OPEN CALL

The Dots no. 16 Milan Design Week 9 – 14 April 2019 Editorial theme 10 years connecting the Dutch at Milan Design Week ONLINE NEWS EVERY DAY

One week about Dutch Designers in Milan Presented by Connecting the Dots A collaboration between Dutch Design Daily and Connecting the Dots. During the Milan Design Week 2019, we will post online topical design news about Dutch designers in Milan every day. Stay tuned and follow us!

dutchdesigndaily.com

Connecting the Dots publishes and presents Dutch designers and design culture internationally during key design events and fairs Connecting the Dots magazine Jacob van Lennepkade 386-2 NL - 1053 NM Amsterdam connecting@thedots.nl +31 (0)20 89 32 886 Twitter @THEDOTS_mag Facebook @ConnectingTheDotsMagazine Instagram @connecting_.the._dots Organisation thedots.nl Magazine connecting.thedots.nl Dutch Design Press Desk dutchdesignpressdesk.nl (online guide + press database) Editor in Chief David Heldt david@thedots.nl Contributing editors Monique van Empel Lucas Verweij Viveka van de Vliet Contributing photographer Boudewijn Bollmann boudewijnbollmann.nl

DDW .NL

Translations Bureau Kennedy bureaukennedy.com Graphic design Adrien Borderie adrienborderie.com Cover photo’s Magazine: Wendy Plomp

by Boudewijn Bollmann Guide: Erik Boker Printed by Rodi Print run 8.000 Communication & Press Luc Deleau luc@thedots.nl, +31 (0)6 5247 2990 © Connecting the Dots 2019 All rights reserved. Copyrights on the photographs, illustrations, drawings, and written material in this publication are owned by the respective photographer(s), the designer(s) and the author(s). No part of this publication may be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without permission of the publisher and designers, photographers and authors involved.

Every year and for each edition, we have sought the best form for the available budget to match the latest developments. Over the past ten years, much has changed for printed media. It is in the DNA of the designer to find the most satisfactory solution to the objective in question; and that is precisely why graphic designers have been given and have played a major role: Koehorst in ’t Veld, Haller Brun, Team Thursday, and, for this edi­ tion, Adrien Borderie. The changeability of its form is typical of our industry, which, like water, is always searching for the best possible fit.

Since 2006, I have been closely involved in Milan­ Design Week every year, and I have seen many changes. Much has also stayed the same. A recur­ring theme? The absence of a central orga­ nisation at the fuorisalone which is at the same time its weakness and its strength. A bit feeble perhaps? But, as far as I am concerned, that is the distinctive power of this event. The fuorisalone is changeable and unpredictable, which makes it very appealing. Once a year, a city state of design.

What hasn’t changed are the restaurants, where peace and quiet is found after a dizzying day of design. The true organiser of the fuorisalone is Milanese cuisine.

Dutch Design is a complex brand that represents a highly diverse mix of identities, and was put on the map by Droog Design. It is nice to see that the industry has continued to renew itself and that the connotation that Droog added has developed and changed significantly, without decreasing attention. Whereas Dutch Design was charac­ terised by cleverness, cheek, and simplicity in the early 90s, the concept of design has now acquired a more multiform connotation, and a great deal of attention is paid to, for example, innovation of materials, research and implementation of eco­ logical and socially necessary alternatives, crafts, digital technology, design-thinking, etc.

After this edition, I will be saying goodbye to The Dots and going in search of a new challenge within the industry. I have learned a great deal and have had even more fun. Design Language, at Via Tortona 35, will be showing an installation of all editions with a selection of the best portraits of Dutch designers.

They are all branches within our industry in which designers excel and that, once again, place the Netherlands in the international spotlight.

Simone Post, Boyan Slat, Design Academy Eindhoven, Studio Drift, MaterialDistrict, Daan Roosegaarde – to name but a few designers and organisations – are contributing to the interna­ tional identity of the Netherlands as a design country and ensuring that our field is layered and mature.

I wish all designers and brands good luck and enjoyment this year.

David Heldt, Milan 2019

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Pieke Bergmans

Pieke Bergmans

She calls it a luxury that, in addition to a targe­ ted audience, like the embassy, everyone ​​ just passed by. ‘It was fantastic. We had a thousand business cards, but we quickly ran out. We had to go to the machine at the nearby station ten times a day to print new cards’.

Pieke Bergmans graduated from the Royal College of Art in London and, shortly afterward, set up a studio in Milan on Via Tortona. In 2006, she was one of the first fledgling designers to show work during the Salone del Mobile, and with a solo exhibition at that. ‘It was major furniture brands that exhibited at the renowned trade fair, and not of experimental types like me’, says the fish out of water.

More than ten years later, Bergmans thinks the fair is too commercial and not sufficiently curated.

The intended one year became six years. It was the place where Pieke broke through interna­ tionally with her Crystal Virus and Light Blubs about ten years ago. Where the recognisable lightbulb becames liquid, bulged out of its socket and dripped into a new unexpected amorphous form. At the same time, she pre­ sented Unlimited Edition – extruded ceramic vases – and Melted Collection – furniture made of insulation foam that came out of the oven baked like blue, extremely strong, lightweight loaves. At gallery Dilmos, she showed the pro­ ject Wonderlamps in collaboration with Studio Job. This was a collection of light objects based on the Light Blubs, in which bulbs inflated like balloons bulged out of polished bronze objects.

These were golden times for young designers like Pieke without much experience, just be­ fore the crisis hit. Nevertheless, she has made a name for herself. She always searches for her own paths, invests, undertakes and exhibits herself and sets things in motion. As a designer who manoeuvres between design and art, her investigative, experimental work was noticed in Milan; her designs were a breath of fresh air bet­ween the all the furniture. Once again in search of something new, she exhibited in other places in recent years, such as Ventura Lambrate in 2016 with FREEZE, a huge melting ice block that is etched in our memory.

Text: Viveka van de Vliet Photography: Boudewijn Bollmann

While the Netherlands already exhibited at the Salone del Mobile, and Droog Design was still prominent, Pieke was a pioneer who started a new solo adventure with Gallery Design Virus.

She had already exhibited in the design city once before; after she received her master’s degree from the Royal College of Art (RCA) in Londen, she presented work together with her fellow students and teachers Ron Arad and Ingo Maurer. And now she rented a studio for one year on Via Tortona. Here at this hot­ spot she exhibited both Reunion and Taped for Rosenthal, and Crystal Virus and Sticky Virus during the fair in 2008. (Sticky Virus are stickers with imaginary viruses that they put on people’s shoulders, bags or jackets when they walked in, with ‘You are infected’ on them).

The designer needed little effort to grab atten­ tion and publicity, and to attract the audience.

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Because Pieke is a pioneer and curious by na­ ture, she becomes bored when she knows the paths she is taking through and through. She is still going to Milan, but this Italian city is no longer her sole focus. At any rate, she is less ­interested in manufacturers or design labels that want to include her work in their collec­ tions. She prefers to focus on international platforms and she exhibits worldwide at fairs such as Art Basel and Design Miami; after all, collectors and museums in particular purchase her work.

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Pieke Bergmans

‘The fair appears to have become a commercial design market with trinkets and more counterfeits. For example, I see my Crystal Virus imitations popping up here every year’

more interesting to work from. Via Tortona became too massive, also for visitors who are wandering around’, she says. ‘For me, it’s no longer interesting and new, design has become multilimbed and, therefore, also more diffuse and the quality is decreasing. The fair appears to have become a commercial design market with trinkets and more counterfeits. For exam­ ple, I see my Crystal Virus imitations popping up here every year’.

In her eyes Milan is still a fantastic design fair because it is unique that the fair is spread out over the city and the whole world comes to visit, become inspired and meet interesting people. ‘Milan continues to have a magnetic effect, young designers all want to be part of it. But as a fledgling designer you have to know what you want. It’s a hard world’, she knows.

What she also misses during the Milan Design Week is an exhibition with a selection of well-curated, interesting new things. ‘I have a need for design on a higher level. This age requires a different approach’.

After all those years having a studio in Milan, Bergmans noticed that she no longer found it quite as inspiring. ‘The day after the Salone, Bar Basso is just a rather dull bar, which I also find funny. The rest of the year there is nothing to do in Milan; Amsterdam is a thousand times

Marcel Wanders

Of course, this did not happen automatically.

‘They were hard times of making good money and spending good money until we broke even’, says Marcel. ‘We are now on the inter­ national stage and we’re successful, but I don’t see it very differently than in the beginning or ten years ago. It’s still the same company and it’s still our platform where we have something to say about design and the world. And I’m still happy that I have this podium for other ­designers­and for myself’.

As a student, Marcel Wanders went to Milan in the eighties.

He never left. He launched his MOOOI label, which became an established international design label, and opened the first permanent showroom in Zona Tortona ten years ago. And now, ten years later, he is changing his strategy for product launches. ‘Instead of presenting new designs once a year in Milan, MOOOI will introduce a new product six times a year at a specific moment somewhere in the world’.

He was in his fourth year of his study at the academy in Arnhem and going to the Salone in Milan seemed like a good idea. Ed Annink († 2012), who taught there, knew that two students from Rotterdam were also planning to go. Dienand Christe and Joost Alferink, whom Marcel met for the first time on the train to the Italian design city, are still his good friends.

They ran from design show to design show, from early in the morning until late at night – this was back when you could see everything, because it was not nearly as spread out as it is now.

Even back then, Marcel wanted to do some­ thing different from what everyone else was doing. So, in 2001 he began MOOOI, together with Casper Vissers, as a platform for both his designs and fellow designers. Giulio Capellini presented him with the opportunity to pre­sent MOOOI in Zona Tortona. Over the past ten years he has been showing the MOOOI collec­ tion here. Sometimes smaller and more modest, sometimes grand and spectacular in spaces of almost two thousand square meters. Ten years ago, MOOOI also attracted visitors into a se­ ductive design universe, like a Wunderkammer in which exotic animals, insects, plants and flowers are blended with modern design. Or in an exuberant painting by a Dutch master mixed with photography by Erwin Olaf. ‘We want to hit them so hard that they won’t forget us for the rest of the year’, says Marcel.

Text: Viveka van de Vliet Photography: Boudewijn Bollmann

The interview takes place at the Andaz Hotel on the Prinsengracht in Amsterdam, a hotel co-owned and designed by Marcel Wanders.

As one of the high-profile designers at Droog Design, which heralded a new design move­ ment in the early nineties, Marcel started in the tradition of Dutch design in 2001 with a small exhibition of a new, quirky brand. MOOOI became a leading international label of of­ ten exuberant, romantic, unconventional and entertaining designs. A brand that is on the map, as Droog was at the time. MOOOI shows work by international designers, including Arihiro Miyake and Neri & Hu, as well as Dutch designers, from the monumental ‘Raimond’, the only lamp by the then 65-year-old and now deceased Raimond Puts, to the recent Meshmatics Chandelier by young designer Rick Tegelaar.

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What is a really exciting new step to Wanders, is that he takes up a different position with MOOOI than most designers do in Milan, as far as the strategy for product launches is concerned. ‘We want to introduce products when they are ready, when we can deliver them 7

Marcel Wanders

Marcel Wanders

‘We want to hit them so hard that they won’t forget us for the rest of the year’

worldwide, not because the fair happens to be coming up. What’s more, the introduction of all our new pro­ducts doesn’t match the times in which we live. Communication is fast, in April you are bombarded with design on Instagram.

Chinese copies are ready before Milan Design Week has even yet ended’, he says.

‘Despite the fact that online has become a good platform, which you can use as a designer to become visible, it takes something extra special if you want to acquire a position in Milan that will endure’, says Marcel. This has not neces­ sarily become more difficult due to the explo­ sive character of the fair over the past decade, but different, he believes.

The design city is still one of the places to be, but not the only one, he says. That is why Wanders now introduces a new product for MOOOI anywhere in the world six times a year at an arbitrary moment, which immediately ­enters the world and is available. This has a number of advantages, he knows. ‘Every year, we want to launch eight to ten new products.

Each of these products is given full attention for two months and won’t be overlooked in a large presentation at the fair. We also give a podium to new, unknown designers. The effect is great, it gives them wings’.

This became apparent when MOOOI first implemented this strategy in December 2018 with ‘The Party’ by Kranen/Gille. This collec­ tion of ceramic wall lamps – faces with head­ gear and LED light shining from the eyes and mouth – was simultaneously introduced on multiple continents and presented by Kranen/ Gille from the showrooms in Amsterdam and Miami. In February, the international launch of ‘Iconic Eyes’ – a giant chandelier – took place at the Bayerisches Nationalmuseum in Munich.

Marcel: ‘I used to be happy if I could hit our au­ dience once a year so that they wouldn’t forget it for the rest of the year, now we hit them on the nose six times a year, just a bit softer’.

Wanders believes we must continue to embrace Dutch Design – which was launched by Droog Design, among others. It was never an impulse, we must be clear on that. ‘Design is in our DNA, and is nourished by our culture and world view, and the world has taken notice’.

‘One way to change or improve the design of something is by thinking and designing in a more romantic, empathic, and humanistic way. The human aspect is important, technology must be secondary’, he says. This, in part, he sees as the future of design. ‘We are done with post­ modernism’. The new age does not yet have a name, but Wanders has ‘christened’ it the “Contemporary Renaissance of Humanism”.

Find Marcel Wanders’ presentation MOOOI in Milan 05, p.42

Despite a smaller presentation this year in Brera, Milan remains important, but the show­ rooms and brand stores in Amsterdam, London, New York and Tokyo are also places where people come together and where the MOOOI designers can be in the spotlights.

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Tuttobene

TUTTOBENE David Heldt and Victor le Noble

Because they are designers themselves, there was kinship with designers. ‘We felt like one of the boys. That personal bond set Tuttobene apart’, David says. ‘Nowadays, our job is more organizational’. The duo also had good con­ tacts with the government, ministries, the Netherlands Foreign Trade Agency, the em­ bassy and the consulate, and they had a da­ tabase. ‘We were needed to reach the world.

Now everyone has a database, MailChimp, a website, and their own contacts with the press’.

Typical for those days were the high-profile parties that were part of the exhibition and that were characterised by a somewhat student-like, youthful atmosphere with free beer and rough edges, as David and Victor put it themselves.

These informal parties seem to have given way to selective networking dinners with a creative chef.

Ten years ago, Tuttobene, the platform for divers, young Dutch design talent with a focus on sustainability and innovation, was one of the hotspots at the Salone del Mobile in Milan.

Text: Viveka van de Vliet Photography: Boudewijn Bollmann

Victor le Noble and Davidt Heldt started as pioneers in Milan with their first Dutch po­ dium­for design talent that created sustain­ able design, a rather undiscussed topic in the Netherlands at the time. They spotlighted the collections of hundreds of designers in beauti­ ful exhibitions at varying locations throughout the city. Tuttobene was a household name and was a springboard for design talent that later often broke through nationally or internatio­ nally. Weltevree, Kranen/Gille and Basten Leijh are just a few examples. David: ‘The goal was to provide ambitious, high-quality designers who came up with new ideas with a platform.

It could be Basten Leijh’s Sandwich Bike or Doreen Westphal’s ceramic made of concrete.

I didn’t want to highlight a certain style, a uniform appearance or only young and fresh designers, but rather to show the development, the innovation’.

Victor comes from the furniture industry, is more business-like, and wants to design and sell products himself. David had experience in organising exhibitions that promoted Dutch de­ sign abroad, like in Japan, where he orga­nised a major Dutch Design exhibition in Nagoya in 2000. He’s the one who creates a vision, wants to give designers a platform and wants to pu­blish. Two talents who are both good at different things, which makes them stronger together.

product itself’, he says.

That is why he believes that designers have to be careful not to work for the common denomi­ nator. ‘Dare to design for a small group, dare to be idiosyncratic. This is where the strength of Dutch designers lies. The importance of bran­ ding is putting that at risk.

Dutch designers are known for being enterpri­ sing, for experimenting, for making connections between sectors and daring to venture into unfamiliar territory. This is typical for Dutch design: its diversity in style, its use of materials, and its target group.

Tuttobene into a sales agency for independent and self-producing designers in collaboration with Remco van der Voort, David went solo with his Connecting the Dots platform and The Dots publication for all Dutch designers and companies exhibiting in Milan.

He brings together a number of competing platforms, including Margriet Vollenberg’s international Ventura Projects and Masterly, Nicole Uniquole’s Dutch pavilion.

‘Dare to design for a small group, dare to be idiosyncratic. This is where the strength of Dutch designers lies. The importance of branding is putting that at risk’

‘The gimmick, like the Weltevree catamaran or the porcelain dildo by Guido Ooms and Davy Grosemans, is passé’

David Heldt

Victor le Noble

In addition to these shifts, both Tuttobene and Victor and David have undergone changes in the past decade. While Victor turned 10

‘The introduction of LED lighting and 3D printing has offered designers new ways of designing’, says Victor. ‘Innovative materials were invented and used to make prototypes.

The gimmick, like the Weltevree catamaran or the porcelain dildo by Guido Ooms and Davy Grosemans, is passé’, he believes. ‘Storytelling is becoming more important in products, as are marketing and branding’.

The fact that the sector as a whole has ma­ naged to brand itself successfully is beyond dis­ pute. The Dutch design industry has the largest presence in Milan second only to the Italians.

‘Communication within our sector has become a sector in itself. Presenting yourself indepen­ dently as a designer or brand is outdated; you have to do it under the umbrella of a crowd puller that also takes care of communication’, says David. ‘Communication agencies are hired for this and they maintain close relationships with the media. This means that the sector has relinquished an important part of its autonomy’.

To an increasing degree, designers are preoc­ cupied with their own promotion and branding, something that has been made important by so­ cial media platforms like Instagram. They think about where they want to belong, with whom they want to be seen, whether they are in the right place. The focus seems to be less on the

This mentality put the Netherlands on the map as a design country, although David believes that which was characterised as Dutch design was, for the most part, dictated by the image of Droog Design. ‘There certainly were designers who liked to use the image, but there were also designers who didn’t recognize themselves in it at all and didn’t want to be associated with it. I never actually come across that discussion anymore; today, where you come from is less relevant. Dutch design is dead, long live Dutch design!’

Find David Heldt’s presentation in Milan: Design Language 18, p.37

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Gijs Bakker

Gijs Bakker

curators and international companies looking for talent. Milan is always the benchmark’, says Gijs.

Ten years ago, Gijs Bakker, the Godfather of Dutch Design, put an end to his work with once-legendary collective Droog Design. But he did not disappear from the design stage. On the contrary: a year later he exhibited Yii in Milan, a remarkable presentation with works of twelve young Taiwanese designers.

‘It remains a fair for everyone, the museum world, curators and international companies looking for talent. Milan is always the benchmark’

Ten years ago, he himself stood out in the Triennale in Milan, because of the beautiful­exhi­ bition designed by Bas van Tol, entitled Yii. The Taiwanese Craft Research and Development Institute requested his services at the right time, according to Bakker, just as he had quit Droog. They asked him to investigate whether designers and the Taiwanese craft industry could come up with new products together.

‘The technique of bamboo braiding and wea­ ving is at a very high level, but they make pro­ ducts that almost none of us want to have laying around’, Bakker discovered while in Taiwan.

He selected twelve young Taiwanese designers and together they developed new products that appeal to a wider public, made from bamboo, porcelain, wood and even brick - the material that the Dutch brought to Taiwan in the seven­ teenth century. One of those talented designers turned out to be one of Gijs Bakker’s former students who had studied for a master’s degree at the Design Academy Eindhoven.

The collaboration has produced something new, Bakker believes. ‘The Japanese and Koreans had been coming to Milan Design Week for some time but, since this exhibition, more Taiwanese and Chinese designers have been attending. I also have the impression that Chinese design is emerging strongly, which is encouraging for others. Last year, I also thought the Korean presentations were excel­ lent’.

As far as the Dutch design world is concerned, Bakker has the impression that, in recent years, the motivation of Dutch designers has arisen

Text: Viveka van de Vliet Photography: Boudewijn Bollmann

The establishment of Droog Design, together with Renny Ramakers, caused a shockwave at the Salone in Milan in 1993, similar to that caused by Memphis more than ten years earlier at the Forum Design exhibition in Linz. The Memphis group was passed its peak, Dutch de­ sign came onto the design scene and never left.

The now 77-year-old jewellery designer, cultu­ ral entrepreneur, curator and former teacher, in tip-top condition and still active, has presented in the design city for many years. He no longer has to visit Milan every year, he says, but it remains an important fair for him, to see what is going on in the commercial world, what the big boys are doing, to set up an exhibition or to visit the presentation of his son Aldo Bakker.

The trends and changes in her market can first be seen in Milan. Over ten years ago, in 2008, the entire office furniture industry and the world of architecture had collapsed because of the crisis. Everything came to a standstill. Vitra reacted immediately: it translated the office world to the housing market, because all those new freelancers were working from home. This turnaround was seen immediately in Milan. ‘It remains a fair for everyone, the museum world, 12

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Gijs Bakker

The project is based on changes in human be­ haviour due to the impact of electronic devices on our daily lives. He selected an international and diverse group of designers, including Bart Hess, Jing He and mischer’traxler studio, and asked them to design a piece of jewellery. This resulted in a fascinating exhibition that included jewellery made from the residual materials of electronic devices, at a beautiful location in a former Pantone factory, which opened for the first time under the name Alcova and is already seen as the new hotspot during Milan Design Week.

This year Gijs Bakker is not going to the Milan Design Week. He is in New York. ‘I’m not going to the fair nearly as less frequently as before, and if I go I have to have something to do there’. Next year, he definitely will be there, because his 1972 Levi’s chair will be taken into reproduction and shown in Milan.

from social needs and that they react less to the enormous technological developments. ‘They are not filling that gap’.

In his eyes there is too much of the same in Milan: nice small-scale solutions for small social problems, subjects that are easy to handle, like reuse, plastics and pollution. ‘It seems like everyone is concentrating on these subjects, encouraged by the design academies’.

At the Royal College, it was Dunne & Raby who used the latest technology as a starting point in the design process. They were extremely successful with it, remembers the former head of the master’s programmes at the Design Academy Eindhoven. ‘You can set different requirements for a master’s program, teach (intellectual) curiosity and conceptual design skills. You can challenge students to take up an autonomous position in the field of design, prepare them to engage in collaborations with science and society, and they should know what is going on in the world’.

That is why Gijs finds it interesting to see designers in Milan (and elsewhere at exhibi­ tions) who immerse themselves in a completely different world. ‘A few years ago, at the DAE master’s, the interest in bacteria on our skin was approached from a negative point of view, but now designers see it as a second skin or as clothing. There are collaborations with professors and scientists from, for example, Wageningen. Designers who have ended up in that world thanks to their interest and curiosity have now become specialists’.

DUTCH DESIGN

Lucas Verweij

Many books have been written about Dutch Design. The subject has been declared dead time and again. It has often been concluded that national identity can never form a ­serious concept other than nation branding. There are designers who have loudly de­ clared they want nothing more to do with Dutch Design, only to exhibit under the same flag.

It is possible to change your nationality, but not your voluntary (or involuntary) parti­ cipation in Dutch Design. This has turned the term into something of a stigma, a con­ cept with which many participants do not wish to be associated. It is a qualification similar to that of socialist or fast food; one that is well intended, but that comes awfully close to being a curse word.

The concept of Dutch Design is not controlled by a single person or body. In the heyday of Droog Design (1993-2008), at least there was a related label that was being well cu­ rated, and Dutch Design took advantage of this. It surreptitiously hitched its wagon to the Droog Design wagon train. But since the decline of Droog, there has been no one to give the concept of Dutch Design direction. It has become rudderless, which is risky for designers, because they don’t know what they are a part of or where it is going.

I remember that in my youth Danish design was always presented with self-confidence and aplomb, but I already thought it was boring back then. It was over the hill, yet the Danish failed to realize it. They continued to publish books and rent stands at exhibi­ tions. Everyone was tired of strict modernism (as demonstrated by Memphis), but the Danish were persistent. I am discussing this doom scenario because it is what awaits the Dutch. One day we will wake up and realize that Dutch Design is being laughed at behind our backs. A concept will only be reinvented when there is a necessity to do so.

Following a disastrous world championship, sports teams are overhauled and trainers are dismissed. In essence, the creative industry is no different. But first, we will have to be laughed at.

On the other hand, in this globalizing world, rigid national identities are flourishing once again. It seems impossible to name a country without political populists. Associa­ ting artistic characteristics with national identity – which is the crux of Dutch Design – can now be labelled a populist and nationalistic act. The political dimension of ‘Dutch Design’ is not cheerful, not liberal, and not conceptual.

‘Nice small-scale solutions for small social problems, subjects that are easy to handle, like reuse, plastics and pollution. It seems like everyone is concentrating on these subjects, encouraged by the design academies’

Perhaps the explanation behind the tenacity of Dutch Design is even more banal: it is an alliteration and it has only one syllable. Hungarian Design sounds a lot less powerful than Dutch Design. We share this phonetic, alliterative advantage with the Danes and the Djibutis. But in the one-syllable alliteration, we stand alone. We simply have the best-sounding brand. So, it will most likely endure for some time. I apologise, but I am unable to offer a solution.

Out of his own interest and curiosity, Gijs Bakker initiated the Device People exhibition last year with his jewellery label Chi ha paura…?.

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Margriet Vollenberg

Margriet Vollenberg

‘That’s where it started to pop again’, says Margriet Vollenberg, founder of Organization In Design and Ventura Projects, when she looks back at that time. Marcel Wanders, who launched his label MOOOI in 2001 in an old factory on Via Tortona, had a solo show on seventeen hundred square meters in 2007.

A year later, Maarten Baas exhibited in a ga­ rage, which was very unusual at the time. ‘The Netherlands was blazing a new trail with a kind of ‘artful design’ outside of the gallery circuit.

We were on the map, and from then on it wasn’t just Droog Design, but also MOOOI, Niels van Eijk and Miriam van der Lubbe and the Flower Council Holland, Maarten Baas, Kiki and Joost, and Studio Job. It was Vollenberg who organised the successful production of Marcel Wanders and Maarten Baas, followed by production and PR for a steadily growing number of Dutch brands and designers, such as Linteloo, Kiki and Joost, Studio Makkink & Bey, and Piet Boon.

Then Vollenberg decided that she could also set up something like that in Milan herself. For her, 2008 was, therefore, an important year because she started a new platform: Ventura Projects, which has since grown into a com­ prehensive, curated platform for international designers, companies and academies.

A decade in Milan for Margriet Vollenberg. This year, she celebrates that she set up both her office and Ventura Projects in Milan ten years ago. ‘The Netherlands was changing directions, we were on the map. And not only with Droog Design’.

Text: Viveka van de Vliet Photography: Boudewijn Bollmann

In 2010 she took over a whole district in Milan’s Lambrate quarter. A place where she wanted to make talent visible. Talent that distinguishes itself through a good education, way of ­thin­king­­,­and approach. She went in search of the new generation, on the look-out for the next Maarten Baas. That is why she thought it was important to work with the academies.

‘There, you see new design trends at an early stage, like at Design Academy Eindhoven in the Netherlands, but also at the Rhode Island School of Design in the U.S. and in Mexico at Anáhuac University’. And ten years ago, she also sought a new location for the Royal College of Art in London with which she ini­ tiated a major project in Milan.

Furiosalone was originally a place where Italian companies and manufacturers such as Cappellini and Moroso, and later MOOOI, had their showrooms in Zona Tortona. ‘When we came to Lambrate, the locations became more 16

designers.

That Droog Design has done something im­ portant is clear. It originated in a small country where natural born pioneers dare to try things out, to look beyond their own borders, and to promote themselves properly. You can no longer avoid that little country, says Margriet.

‘Large companies look at us. Design is one of the top sectors, an export product. In my opi­ nion, we should realize this even more, and show that we can do business with the world and, what’s more, benefit from it’.

Vollenberg made the considered decision to launch Ventura Projects in Milan internationally, because it is precisely the relationships between these different design concepts, prototypes, and products from all over the world that are interesting. ‘The Netherlands has its own style, it is called Dutch Design. This work has become a brand, I call it “the Dutch approach”. We are not afraid to do something, which is reflected in our ability to think big, in our concepts, and in the use of and studies on new materials’, she says.

‘In Milan we tend to turn the fair into a “Dutch party”, while it is precisely the place to do business internationally and to expand your network’, she says. ‘We sometimes think that we are the only ones, but Germany and France have always been present in Milan, and Asian and South American countries are now on the rise. We need to stay focused on what design is amid this much competition and in the changing world in which we live’.

and more spread out and we saw that the au­ dience was moving along with them. There was Connecting the Dots since 2010, later palaces started to be used commercially, as Masterly opened the doors of Palazzo Turati in 2016, and there was Expo2015, the world fair that has done a lot for the city’, she recalls.

‘Tree years ago, we launched something new, because I noticed that companies wanted to start doing bigger things again after the crisis and literally needed more space to show their designs’, says Margriet. This became Ventura Centrale, under the atmospheric raw arches of the Milan Central Station.

‘If Milan works, it will work everywhere. You conquer the world in Milan’ Milan Design Week has become a branding fair and remains a test case for labels and com­ panies. It does not differ from ten years ago, she says. ‘If Milan works, it will work every­ where. You conquer the world in Milan’. What also does not really change, is that the design city is still the place to meet others, despite the fact that the role of Instagram and online has become many times larger as a means of put­ ting new work in the spotlight. ‘Deals are still being settled in a Mediterranean manner at Bar Basso’, she knows.

Vollenberg has noticed that the interna­ tional audience has not only become larger and spread out over the city, but it has also changed. Trend watchers and scouts now visit Milan Design Week. And so do companies that do not initially have to deal with design such as Sony, Yamaha, and Nike; companies that want to be inspired and look for collaborations with designers. More and more crossovers between these companies and designers have arisen, like Scholten & Baijings who collaborated with Mini and companies like Finsa, which recently began working with the Envisions collective at Ventura Projects. Vollenberg would like to see more of this; designers leaving their studios and going in search of collaborations with companies, and companies putting these kinds of fairs on their calendar. After all, they desperately need

Find Margriet Vollenberg’s presentations in Milan: Ventura Future 06, p.41, Ventura Centrale 21, p.35

17

Wendy Plomp

Wendy Plomp

Isola, the area in Milan where Dutch Invertuals has been exhibiting for eight years, has become better known in the past three years. There is a shift taking place, it is becoming livelier – even when the design caravan has moved back home after Milan Design Week – because new per­ manent bars have been opened, Wendy notes.

‘More small collectives have settled here that temporarily present together’.

Here, Dutch Invertuals show their never-unno­ ticed international exhibitions in which a rich variety of products and objects attempt to cap­ ture the spirit of the times. The collective asks relevant and critical questions about, among other things, energy issues, patterns of conflict, the value of property, or digitization. It rede­ fines the boundaries of the design profession, and reflects on and analyses our behaviour, how we want to live in the future, what the meaning is of our identity and culture, and how we shape the new nature.

Within one decade, Dutch Invertuals has become a household name and has exhibited twenty times with two hundred works by seventy designers. Founder and curator Wendy Plomp, together with the group of selected designers, is celebrating the 10th anniversary of this pioneering collective that shows a visual manifesto every year in Milan.

‘Here, the world comes together.

Here, we try to inspire and bring renewal’.

Even after ten years, Dutch Invertuals is very much alive and continues to surprise. For their anniversary, the invertuals were invited to design something with the iconic shape of the Circle. The fact that we are still not bored, after twenty presentations, is partly due to the fact that the collective constantly challenges itself with its visual manifestos: every time, new themes, designers, materials, visions, and de­ sign tell a different, unique story created in the Dutch Invertuals lab. ‘The collective is success­ ful and renowned, and is followed by a large network of museums, designers, companies, and galleries that regularly pick up participat­ ing designers. We offer a valuable platform on which creativity prevails’.

Text: Viveka van de Vliet Photography: Boudewijn Bollmann

18

Exactly ten years ago, recent graduate and designer Wendy Plomp was asked by her client Verger to show Dutch Design in Milan. The space she had at her disposal was situated in the heart of Brera, on Via Varese 1. She wanted to show her broad vision of design and asked designers from different disciplines, whom she did not know but whose work she found intriguing, to participate. It resulted in the first presentation of Dutch Invertuals, with work by, among others, Bart Hess, Daphna Laurens, Pepe Heijkoop, Raw Color, and Architects of Identity (edhv).

The pioneering, experimental, and non-con­ formist initiative attracted a lot of attention in Milan because it was so different, refreshing, and innovative. ‘We found it totally logical to do it that way’, says the instigator and leading figure behind Dutch Invertuals, who has been exhibiting twice a year since then – during Milan Design Week and Dutch Design Week Eindhoven, the city where the collective is rooted.

There is nothing wrong with wanting to cre­ ate a new vase or candlestick and to show it in Milan, she says, but her goal is different. ‘I want to know what creative input can bring about in order to create a new world, a different ima­ gination and insights’. According to Wendy, the strength is still that Dutch Invertuals should be seen as an external research and development studio, a valuable think tank of radical, creative thinkers who can come up with something that nobody else can. ‘These designers can bring innovation to companies’, she says.

19

Wendy Plomp

Jacco Bregonje

Jacco Bregonje

According to the initiator, scout, art director, and curator of Dutch Invertuals, Milan remains the meeting point where all worlds come to­ gether. That continues to make it an interesting fair where the course is set for the coming year and agreements are made.

Jacco Bregonje feels like a cosmopolitan. The Dutch industrial designer lives in Italy and has a home in the Netherlands, works for international companies, and travels around the world.

Every year, he watches Dutch designers descending on Milan.

‘They create a pop-up catwalk and conquer the world in one week’.

‘I want to know what creative input can bring about in order to create a new world, a different imagination and insights. So, creativity is not a cuckoo in the nest; it’s guiding’ Incidentally, she has noticed that the number of collaborations between designers and com­ panies has been growing and becoming more transparent over the past ten years. For exam­ ple, Envisions has started a partnership with Finsa and Dutch Invertuals successfully worked together with Luxaflex and with Selfridges, for which they developed a sustainability campaign.

The new generation is more about collectives than individualists, and the superstar designers of ten years ago hardly exist today.

Text: Viveka van de Vliet Photography: Boudewijn Bollmann

Industrial designer Jacco Bregonje exhi­ bited in Zona Tortona ten years ago together with Marko Macura and Italian furniture label Felicerossi. A few days before the opening, the Dutch arrived. With their subsidized trucks and construction teams, they entered the Zona Tortona, Jacco says. ‘It was somewhat frus­ trating, because we had to finance and build everything ourselves.’

Find Wendy Plomp of Dutch Invertuals in Milan 01, p.44

The Dutch can work together and move in groups. Italians cannot work well together.

The design world is very protective in Italy; the designers of the older generation often stay working until a later age and do not hand over the profession to the young generation. A lot has changed in recent years, Jacco knows.

Currently he works with Dutch designers like Lex Pott and Dick van Hoff for German brand Hartweil. ‘They are down-to-earth designers who have become entrepreneurs and establish contacts with the industry. These designers seem not to be interested in the Milan fair and don’t think that circus is all that important’.

For Bregonje, the fair is a ‘proof of concept’, which he uses to launch products such as the innovative stove for Boretti. ‘It is a fantastic test 20

21

Jacco Bregonje

case because the whole world is passing by and you can see what the response is, as was also the case with his experiments with 3D ­knitted­ furniture, an innovation deriving from the fa­ shion industry. There are more brands, such as Vitra, Lexus, and Hermès, that collaborate with ar­tists and designers to create a total expe­ rience for their brand, as Jacco is doing with Boretti or Hartweil. For him, Milan certainly remains the perfect place for informal encoun­ ters and the exchange of experiences. ‘Human contact is inspiring’.

given the opportunity to experiment with gov­ ernment money’, Bregonje says. This creates a dif­ference in the type of work and the type of designer, he believes. ‘But because Dutch designers have become more entrepreneurial and are seeking contact with the industry, and Italian designers have looked at Dutch Design, they are growing closer. That makes it easy for me to work in both countries’, he says.

‘Because Dutch designers have become more entrepreneurial and are seeking contact with the industry, and Italian designers have looked at Dutch Design, they are growing closer. That makes it easy for me to work in both countries’

As a young designer today, it is perhaps more difficult to distinguish yourself and build a fu­ ture, he thinks. ‘But the profession has become broader and more integrated, and designers develop a responsibility as creative minds that can contribute to solving problems throughout the world’.

For many it seems like Dutch Design was put on the map in 1993 with Droog Design. Jacco sees this differently. For him, Dutch Design started back with designers like Aldo van den Nieuwelaar, Bruno Ninaber van Eyben, and Friso Kramer. In any case, he left for Italy a year before his Dutch contemporaries would settle there with Droog. He knew ‘that’s where it was happening’. He did an internship at Maarten Kusters’ studio. There was a click. What started out as a short stay resulted in a successful ten year career at Whirlpool Corporation. Initially, Bregonje felt like an expat who looked at Italy through rose-coloured glasses. But as time passed, he became a Dutch designer work­ ing with major Italian companies. He still lives with his son and wife – fashion stylist Mirjam Breukers – near Lago Maggiore.

Scholten & Baijings

Their first presentation was at Salone Satellite with design-grandmother Martha Griffin, after which their Woven Willow collection for Thomas Eyck was presented at Rossana Orlandi and they were participants when vice president of design by BMW Group, Adrian van Hooydonk, gave them carte blanche to come up with a Concept Car for MINI, which was shown spectacularly during the Salone in 2012. Scholten & Baijings made the MINI of the future friendlier, more colorful, softer, and a pleasant place to be; they gave the car plastic wheels and a new look.

Despite this spectacular presentation, it did not result in orders until years later, like for the Korean company Samsung. But the well-­ organised solos at MINI and Herman Miller did lead to contacts with other brands and pro­ vided visibility and appreciation.

Scholten & Baijings now works for an impres­ sive list of international brands, which means that they are represented at several locations in the design city every year.

Since founding Scholten & Baijings in 2000, designers Carole Baijings and Stefan Scholten have only skipped Salone del Mobile in Milan once. ‘Over the past decade it has become a place to maintain contacts with all our clients.

We no longer have to present ourselves, the big brands do that for us’, say the design duo.

Text: Viveka van de Vliet Photo: Boudewijn Bollmann

As a nomad, Bregonje travels the world, He absorbs his experiences like a sponge and squeezes them out into new projects. As an independent designer, he develops brands, designs interiors, and is a creative director and co-owner of Italian furniture label Felicerossi (which he and Marco Macura work for, as do Karim Rashid, Matali Crasset, Maarten Kusters, and Toshiyuki Kita). He is also creative director of German technical ceramics brand Hartweil and lead designer for Boretti, the Dutch-Italian kitchen brand. ‘Italy has the industry that hardly exists anymore in the Netherlands. It’s all about quality here, it’s in the genes of the proud Italians’.

‘In those days, we followed the Dutch ­designers with amazement’, he says. ‘As a designer in Italy, you have to take on everything to stay upright. The engine of the design profession is the industry and the government has no cultural agenda. In the Netherlands, there is hardly a manufacturing industry to speak of, the government has become the engine that supports the profession. Of course, it’s fan­ tastic that ­designers are supported by the govern­ment. Many good designers were able to break through internationally and were 22

23

Scholten & Baijings

‘We have come into contact with clients through Milan’, says Carole. ‘You have to per­ severe, you can’t expect to show in Milan once and go home with a bag of money’.

‘Only present if you’ve designed something new. As a novice designer you have to exhibit at least three to five times and then take stock’, is Stefan’s advice. ‘You have to have patience and be able to finance everything, otherwise it’s impossible’, they know. ‘In addition to all the hard costs – the first twenty thousand euros are already spent before you even arrive at the location – you have to create new work and invest a lot of your time. In our early days, renowned Italian hotshots like Cappellini chose the Bouroullecs over a Dutch designer. We had no industry in the Netherlands. The big boys like Ahrend chose German architects for the design of their new furniture’.

museum directors such as Ingeborg de Roode, curator of Industrial Design at the Stedelijk Museum, and Wim Pijbes, former director of the Rijksmuseum. The latter encounter led to the exhibition of the 2016/Arita collection in the East Asia pavilion of the Rijksmuseum. And to think that we can see the museum from our studio’.

The function of Milan for designers such as Marcel Wanders, Studio Job and Scholten & Baijings has changed in the past ten years. ‘It is the place where we meet all our clients’, says Carole. ‘We go to dinners where all influential people from the design world show up. In the past, a table was reserved for ten designers, now a whole restaurant is rented’.

‘It is still difficult to do business in Milan’, Stefan says. ‘In that respect, it is exceptional that the owner of 1616 / Arita Japan, with the presentation of our Colour Porcelain collec­ tion at Rossana Orlandi, was asked by all major department stores to come by, even though he doesn’t speak a word of English’, says Carole.

For young designers (and visitors), it is a dif­ ferent story. Ten years ago, there was the fair in Milan and a number of spectacular presen­ tations in the city. ‘Nowadays, Milan is one big show!’, Carole says. Milan Design Week has grown explosively. New neighbourhoods have been added and with the fair, shops, exhi­ bitions, the Triennale, and Salone Satellite, the offer is so overwhelming that it is hard to stand out as a designer among all the other tens of thousands of designers’, says Scholten.

‘Although designers have an online platform that creates visibility and a market, they all want to present their work here’, he says. ‘The chance that Vitra, HAY or Cappellini will notice you is small, because big brands work with a very select number of designers. If you don’t choose a direction as a young designer, or show only an idea or concept, you will have a harder time than if you show a finished design that a manufacturer can take into production’, he knows. ‘Dutch Design Week is a good platform for young designers. Almost better than Milan’.

But Scholten & Baijings were well received.

Perhaps because of their unbridled dedication, as if the two perfectionists were professional sports, but also because of their distinctive sig­ nature that comes from a shared love of com­ posing self-developed, extraordinary colour schemes and nature as an unequalled source of inspiration, an eye for the smallest details, and a sense for craftsmanship and layering. What’s more, they quickly realized that a good pre­ sentation and photography – they have worked with the photography duo Scheltens & Abbenes for many years – helped to determine their calling card.

‘You have to persevere, you can’t expect to show in Milan once and go home with a bag of money’ Carole Baijings Although their focus is also on fairs in Cologne, Chicago, Tokyo, London, and Stockholm, Milan is just Milan, they say. ‘Everyone comes here.

You see the latest designs’, says Stefan. ‘In addition, we often don’t meet people located quite close to us in Amsterdam until we get to Milan. We met Helen van Ruiten from the for­ mer Galerie Binnen. The same applies to Dutch 24

MOSA Mireille Meijs Over the past ten years, the Milan’s charm has remained intact: you become enchanted by its crazy diversity of design.

Impressive experiences with light projections that have been produced with a large budget are presented next to small design studios with hardly any budget showing a series of refined products. ‘They reinforce each other, surprise and inspire. It makes Milan one of the best fairs I know’, says Mireille Meijs, designer at tile manufacturer Mosa.

Text: Viveka van de Vliet Photography: Boudewijn Bollmann

Mosa is at the forefront: since 2008, it has been the world’s only cradle-to-cradle tile manufac­ turer and that is something it wants to show the audience in Milan. The company presents new collections with an increasing focus on expe­ rience, as can be seen in more presentations in the design city.

In the past, the emphasis had been more on the products themselves but, ten years ago, the ex­ perience became more important at the Salone del Mobile. That was when Mosa exhi­bited at Superstudio on Via Tortona, where they pre­ sented a spectacular installation of huge han­ ging tiles of about 60 X 120 centimetres that seemed to float in space.

‘Despite the fact that digital media have become more important in the past ten years, they don’t appear to be a replacement. Architects want to see, feel, and experience things’

‘Milan Design Week has grown, but it remains­ the most creative of all trade fairs’, says Mireille. Not only does she present here with Mosa, she also goes to be inspired as a de­ signer. ‘It’s where you see all the new concepts and what lies ahead for furniture and products’, she says. ‘I’m not just talking about realised products or next year’s trend colour, but about new ways of thinking, such as the use of new raw materials for products, including algae and seaweed, and the increasing emphasis on the reuse of materials’.

When Mosa presented in Zona Tortona ten years ago, it was an emerging area. In 2014, Mosa moved to Lambrate, because the tile pro­ ducer felt that Zona Tortona was too big and too hectic. ‘It has become an area where more 25

Marjan van Aubel

Mosa

Marjan van Aubel

and more major companies with large bud­ gets are trying to outdo each other’, she says.

Mosa is a small player in the market and feels at home in a diverse area where it can exhibit next to creative designers and design studios, and where you see presentations of both concep­ tual ideas and companies with concrete pro­ ducts. ‘We reinforce each other, which is more valuable than presenting between hundreds of other tile manufacturers at a tile fair’, she says.

Some call her a radical innovator, an inventor or an energy pioneer. Solar designer Marjan van Aubel graduated just ten years ago and has her first exhibition in Milan at Tuttobene with her cabinet made of intumescent porcelain.

Since then, the Dutch designer who went to Milan from her home in London, saw that the design world was become more diverse and started working with clients such as Swarovski.

Mosa did not present in Milan for four years, from 2015 till 2018, because the company changed its strategy. It was focussing on digital marketing, but soon Mosa reversed its position.

‘We now know that it‘s still the best to show in Milan. It’s good for publicity, attention, and it’s inspirational – that’s important for a designer’, she says. ‘Despite the fact that digital media have become more important in the past ten years, they don’t appear to be a replacement.

Architects want to see, feel, and experience things. Mosa organises trips for international architects to the Milan Design Week, because of that live experience, but also because a large section of the world is unfamiliar with the tile manufacturer, despite the fact that many archi­ tects work with Mosa products.

This year, Mosa is presenting at Masterly, the Dutch pavilion, with an interactive installation created with contemporary ceramic floor tiles.

‘We want to emphasise our Dutch heritage and our Maastricht roots’, Mireille explains.

‘The extraordinary thing about Milan in the last decade is that you try to discover a connecting theme, but you can’t find it. Suddenly, there is a new area where many designers and brands present together and form a new creative hot­ spot. The next moment, you are amazed by a Memphis Revival, or by larger innovations in the field of, for example, social design and sustai­ nability. It’s still a fair that continues to surprise me, every minute of the day’.

Text: Viveka van de Vliet Photography: Boudewijn Bollmann

After Marjan van Aubel obtained her bachelor’s degree at the Rietveld Academy DesignLAB in 2009, she had her first exhibition in Milan at Tuttobene, together with designers such as Bo Reudler, Frederike Top, and Sjoerd Jonkers.

She showed her graduation project, entitled Foam Porcelain, made of a new material she developed herself that behaves just like a cake or bread and expands in the oven to 300 per­ cent.

She found Tuttobene a well-organized exhibi­ tion that generated a lot of press. ‘Because we presented as a collective, we were visible and we were able to arrange things like transport together’.

It was certainly a year worth remembering: because of the eruption of the volcano under the Eyjafjallajökull glacier, European air traffic was disrupted by a large cloud of volcanic ash.

She was stuck in Milan. One of the up-sides to this was that she was stuck there with, Guus Beumer, director of Het Nieuwe Instituut (HNI), among others. This year, their meeting resulted

Find Royal Mosa in Milan at Masterly - the Dutch in Milano at 16, p.38

26

in the joint development of the self-sustaining greenhouse called Power Plant.

When Marjan exhibited for the first time in Milan, she was one of the few designers who approached things from a scientific point of view, experimented with innovative concepts, and did extensive materials research based on sustainability. ‘Since then, sustainability has be­ come a trend and everything seems to be one big experiment’, says the designer, who herself experimented with lava, volcanic stone, foam, and wood. In her work, Marjan focuses on current topics such as the energy transition and climate goals, she promotes energy efficiency in intelligent designs that actively produce elec­ tricity as she integrates technology and solar cells into lighting.

The designer showed The Energy Collection in Milan for the first time. This tableware with in­ tegrated solar cells was her graduation project from the Royal College of Art (RCA) in London, where she obtained a master’s degree in 2012.

At the time, not many designers were focusing on solar cells and, nowadays, there is still not much difference, she notes.

During her stay in London, she regularly ex­ hibited in Milan. With the RCA graduates at Salone Satellite, with Current Table, a table to sit on that also does something active: it pro­ duces electricity. With her Well Proven Stools, she exhibited at Ventura Lambrate for the first time. ‘Margriet Vollenberg has done so much in the past ten years by giving young talents a platform’, she says. And the government also plays an important role in the Dutch design world. Marjan van Aubel and Jolán van der Wiel built Energies Unseen at Rossana Orlandi with a subsidy from the Stimuleringsfonds. ‘Such a large installation, in which we played with natural phenomena such as gravity and photo­ synthesis, can only be created with a grant’, she says. ‘That’s still a possibility and it’s why the Netherlands is so prominently present in Milan’, she believes. ‘With these grants, Dutch ­designers­can play around longer and do re­ search. In England, they are unfamiliar with this phenomenon, so designers start working more commercially by designing saleable products­.

Dutch designers aren’t always aware of their luxury position, says Marjan, who lived in London for seven years.

During that time, she saw Lambrate, and the rest of Milan, grow very quickly. As a visitor, you really have to know where you’re going and be very selective, she thinks. She also believes that the design field has widened. ‘There are so many design trends that can be exported as products, from furniture to design thinking’.

‘With these grants, Dutch designers can play around longer and do research. In England, they are unfamiliar with this phenomenon, so designers start working more commercially by designing saleable products.

Dutch designers aren’t always aware of their luxury position’

27

10 years of Dutchies in Milan

Marjan van Aubel

10 years of Dutchies in Milano Bravura, Beer & Business

In fact, you do not have to go to Milan any­ more, because you can see all the new designs on Instagram. That, in itself, could be an inte­ resting development, says Marjan. ‘As a result, the impact on the environment has been re­ duced, it saves material because you no longer have to build an exhibition stand, and you no longer have to buy airline tickets’.

But Instagram is not sufficient in all cases. For installations like her Power Plant, the physical experience is important. For this greenhouse of transparent solar glass in which you can harvest food and energy at the same time, people’s reaction is important. ‘I want to see them react, and to see the interaction’, says Marjan. ‘I’ve tried to create an experience with pink LED light, something you can’t see on Instagram’, she says.

Milan is still the place to meet people. ‘It is de­finitely an important fair. You meet fellow designers, the audience, and companies, and you get to know new people, especially at Bar Basso’, she says. Here Van Aubel met later clients. She is in talks with major glass manu­ facturers and the automotive industry, and she received the Swarovski Young Emerging Talent Medal in 2015 and the Designer of the Future Award in 2017 in collaboration with Design Miami. Van Aubel now collaborates with scientists, engineers, and companies such as Swarovski, TNO, and ECN (Energy Research Centre Netherlands), which supplied the solar cells for the Swarovki crystals in her Cyanometers.

Instead of presenting herself, the brand showed her Cyanometers at Swarovski Palazzo during Milan Design Week last year. A site-specific installation in a greenhouse in the enormous courtyard of Palazzo Serbelloni. This year, the brand is showing the prototypes, which have been taken into production: a hanging lamp, a standing lamp, and a wall lamp with dif­ferent lighting programmes. ‘It’s a luxury to work with a brand like this’, is her experience. It has already brought her into contact with a gallery owner in London. He placed seven Current Windows in front of the windows of his Greek Street gallery where passers-by could charge their phones.

Michiel’s egg, Maarten’s circus, Hans’ cannon. But also: Rossana’s glasses and Ikea meatballs. For me, Milan’s international furniture fair is a wonderful journey of discovery, year in, year out. In addition to the Fiera, I visit picturesque spazi and showrooms, roof gardens and basements, garages and galleries, warehouses and pallazi. Mainly on the lookout for The Dutchies, who have been high-profile for many years now: thoughtful and provocative, original and innovative, but also sustainable and circular, critical of the social structure and with a social conscience. My personal highlights of the past ten years?

By: Monique van Empel

Maarten Baas Maarten Baas is someone who has been putting on high-profile shows since his début. His designs are on the cutting edge of design and art. His shows vary from dry to completely over the top.

And his locations range from a regular apart­ ment to a garage in which a full screen-printing workshop had been set up. Garages are always a favourite with Dutch designers. Take, for exam­ ple, Autoficcina in Lambrate or the car par­k in Tortona where Tuttobene hosted a few shows.

Right, back to Baas. After Smoke and Clay, he 28

Project EGG by Michiel van der Kley made of 4,670 3d printed stones, Ventura Lambrate 2014.

­ ecame the centre of attention, both from the b international press and from furniture manufac­ turers and gallery owners. As had happened to Marcel Wanders before him, Baas quickly became a mega star, a hype, and so it was high time for him to take a step back. This year, therefore, he launched his cheapest design ever: the Analog Digital Clock app that everyone could download for 99 cents, and was broadcast live on TV in a rented apartment in Lambrate. No bustle, no fuss, just a relaxed week in Milan for Baas. I thought: more people should do that. A year later, Baas spared no expense with what looked like a car­ nival. A brass band, a merry-go-round with Baas chairs, carnival mirrors, and a clown here and there. It was really a loud ‘protest’ against the su­ perficiality of Milan. And, again, he succeeded in making a strong statement. Even more attention and praise was lavished on his 2017 presentation with Hans Lensvelt: ‘May I have your attention, please’, an installation set up around the 101 chair that Baas had designed for Lensvelt, in 101 vari­

ations, for as many personal opinions and tastes.

For this installation at Ventura Centrale, Lensvelt won the prestigious Milano Design Award, Best Concept.

Maarten Baas presenting in a garage in Via Voghera, 2008. Photo by Boudewijn Bollmann

Hans Lensvelt In 2016, Hans Lensvelt received his first Milano Design Award, for his Boring Collection together 29

10 years of Dutchies in Milan

with Space Encounters. It was not so much for the contract furniture itself, but rather for the presentation and the message. Like an anti-design statement. Because the Boring Collection was finished in super boring grey, ‘because it’s not about furniture’. Everyone at the opening night will always remember making and throwing balls of paper into the (grey) wastepaper basket. Crea­ tivity and criticism, hand in hand with humour and (self-)mockery. Also memorable was the blue World War III/Furnification show in 2013 with Atelier Van Lieshout; with an American cannon and a real army tent where you could get soup and bread. And beer, of course.

10 years of Dutchies in Milan

development of fish leather (Nienke Hoogvliet), the rise of macramé (Sandra de Groot and Milla Novo) or colla­borations with, for example, Desso, RENS (Renee Mennen and Stefanie van Keijsteren) or Odette Ex. All presentations in Milan that brought them fame in the rest of the world.

Design Academy Eindhoven Of course, Li Edelkoort was of great importance to the international allure of Design Academy Eindhoven. Sensational exhibitions in Milan put the academy on the world map and ensured that many students found their way to the interna­ tional podium. Participation of the DAE in Milan also inspired other Dutch degree programmes to take part: the Willem de Kooning Academy, the Maastricht Academy of Fine Arts & Design, Utrecht School of the Arts, Royal Academy of Art (KABK) in the Hague, Koning Willem l College in Den Bosch, Artemis, and the HMC vocational college for woodworking, furniture and inte­ rior design. I continue to find it arresting to see a good overview of the graduation work of the Netherlands’ Next Generation not in my own country, but on a few square kilometres in Milan.

For me, the most memorable exhibition of the DAE was Eat Shit in DAE, focussing on the new Fool=Food department. It included girls cycling around with enormous turds on their backs, a tower of newsprint and pigeon poop, a farming game with a realistic view of the meat industry, and, of course, the Infinite Sausage machine, which conjures a three-course meal onto your plate in one cube of compressed food.

Lensvelt & Space Encounters - Boring Collection. Milan Design Week 2016. Photo: Jan Willem Kaldenbach

Textiel Another person who has, for many years, been able to make an impression Milan is, of course, Li Edelkoort. For me personally, she saved textiles from certain death with her Talking Textiles exhibition in 2011, as well as laying the founda­ tion for a revaluation of craftsmanship, including weaving, embroidery, and even macramé. Her selection of objects, which focussed on innovative textile techniques, was extremely multifaceted.

From fabrics, wall hangings and rugs, curtains, lighting designs, accessories and upholstered furniture, to multimedia instal­lations, films, and ­digital printing techniques. The exhibition proved to be a precursor to a revival of textile within architecture. And elsewhere. It paved the way for what are now big names, inclu­ ding Aleksandra Gaca, Mae Engelgeer, Roos Soetekouw, Simone Post, and Claudy Jongstra.

Within this same context, take, for example, the

Graphic by Studio Haller Brun for exhibition Eat Shit of the Design Academy Eindhoven, 2015 30

Court yard full of tulips at the first exhibition of Masterly the Dutch in Milano in 2016.

­OS∆OOS, Jeroen Wand, Jólan van der Wiel, Kristie van Noort, Jelle Mastenbroek, Alissa & Nienke, as well as – more and more – f­ oreign designers. The patience, attention to detail, and passion with which Wendy talks you through the designs is unprecedented. The parties on Friday nights, among the many ‘radical thinkers’, are al­ ways a serious assault on my already hoarse voice.

What a fantastic network!

Dutch Invertuals In 2009, Dutch Invertuals came to Milan for the first time. From the beginning, it was a collabo­ ration between several designers from various disciplines within the industry. The immediate cause for the first collaboration was a request to represent Dutch Design at the Salone. The de­ signs that were exhibited were not yet created specifically for the exhibition, but they were all evocative and original: take, for example, Pepe Heykoop’s brick chair, Bart Hess’ needle blanket or Lotty Lindeman’s wall bags. All later group presentations had a specific theme, for example, Transform, Harvest, Advanced Relics or Body Language. With Wendy Plomp as its curator and art director, the ever-changing collective explores and pushes the boundaries of the design profes­ sion. Social themes are discussed together and individually translated into a visual mani­festo, in which the experiment dominates. All notable designers have been invited to join by Plomp, including Daphna Isaacs Burggraaf, Edhv, Jo Meesters, Laurens Manders, Mieke Meijer, RAW Color, Lex Pott, Paul Heijnen, Jetske Visser,

Nicole Uniquole Another woman of stature in the design indus­ try is Nicole Uniquole. In 2016, she organised her first Masterly at the Palazzo Turati. Italians queued up for hours to see the otherwise inac­ cessible palace from the inside, and, on the final day, for the 15,000 free tulips that had adorned the courtyard for a week. Of course, the majo­ rity came for the Dutch Design, including works

by Edward van Vliet, Gispen, Ahrend, Royal Delft, Royal Tichelaar, Pepavana, Lizan Freijsen, Bo ­Reudler, Jesse Visser, and Rick Tegelaar. The second year featured more furniture brands, such as Leolux and Gelderland, but also Desso and De 31

10 years of Dutchies in Milan

pockets. Tortona became a playground for the marketing of the larger A-brands. In addition, there was beer for sale literally on every street corner (‘Heey fucker, beer one euro!’) and, at a cer­ tain point, there were even long rows of German beer tables in the streets. This quickly destroyed the soul of the Zona Tortona, leaving aside the fantastic shows by MOOOI, Envisions, Nendo, Design Language, and Tuttobene.

Ploeg, and, of course, many individual d ­ esigners.

Last year, a new Dutch lighting brand was launched at Masterly: JAPTH. The many rooms in the palace – with its beautiful parquet floors, wainscoting and ceilings, velvet drapes and huge oil paintings – are, to my mind, the most beau­ tiful setting that the work of a designer could have. And, in ‘her’ palace, Nicole deserves to be the Queen of Dutch Design for a week. What a professional!

Rossana Orlandi Finally, one more Grand Lady of Design. A bit of a granny or mummy to many of Dutch ­designers, for whom she has had an eye and a weakness for many years – from Piet Hein Eek to Nacho Carbonell. It is, of course, ‘that tiny grey lady with the enormous glasses’: Rossana Orlandi, who puts together a wonderful presentation in her own spazio year after year. It is a shaded ‘hang­ out’ with many larger and smaller spaces in a former tie factory, full of works by mainly young ­designers. Li Edelkoort and Rossana Orlandi both have a talent for selecting the best talents worldwide and placing them in the internatio­ nal spotlight. I always reserve a whole afternoon for Rossana, so I can enjoy a delicious organic lunch in the garden, the lounge music, the sun, and spend some time chatting with the many ­designers, colleagues, and other people from the business that I always meet here.

The famous bridge over the train tracks bringing the public to Via Tortona, 2011.

After the fall of Tortona, a new Zona was intro­ duced in 2010: Lambrate. Here, too, there were many empty industrial and office buildings to let for – what were at the time – normal prices. Here, it was like old times, vibrant and bustling, with spectacular innovations, designers with a story, a good audience, and an enjoyable atmosphere.

For many years, initiators Margriet Vollenberg and Margot Konings were able to keep up the quality of Ventura Lambrate. But, unfortuna­ tely, the same happened to this hotspot as had happened in Tortona. Last year, there still was a Lambrate, but without the creative direction of Margriet Vollenberg it clearly suffered a loss of quality. Many cool places are the victims of their own ­success. Fortunately, Margriet has not been sitting around doing nothing; this year she is organising her third Ventura Centrale with twice as many spaces. In the characteristic arches under the tracks of the central railway station, all presentations have something magical.

The zonas For years, the ‘alternative’ Zona Tortona was the place for the most sensational shows. I remember claustrophobic moments on the little railway bridge, when the mass of people just wouldn’t budge. In Superstudio Più alone you could spend a good few hours. But about six years ago, a change really took place. No more big brands like Cappellini, Cassina, Flos, Diesel, and Foscarini, but rather an increasing mishmash in spaces that were far too small. The whole Zona Tortona was becoming more and more commercial: estate agents and local proprietors made money hand over fist during the period of the fair and demand (and receive) some 15 thousand even for a lousy basement. There no longer seemed to by any ar­ tistic direction or creative screening of any kind; the best spots were for those with the deepest

10 years of Dutchies in Milan

to a poetic form language that gives you food for thought, again and again.

district. It included over eighty exhibitors from thirty countries – Dutch, but just as many other nationalities and foreign design schools.

Likewise, Tortona and Lambrate are no longer dominated by the exhibitions of the Dutchies.

A few still believe in the rediscovery of the old zonas. Personally, I don’t. Although, of course, the new Ventura Future this year in Base, at the famous roundabout in Tortona, with even more (Dutch) participants, is an absolute must-see.

I see the Dutch contribution to Milan disinte­ grating more and more. And perhaps even more pessimistic (or realistic): I think the shelf life of Dutch Design is becoming limited. Following the Italians and the Dutch, the Japanese could very well be the next wave. Of course, Issey Miyake, Comme des Garçons ons, Toshiyuki Kita, Naoto Fukasawa, Tokujin Yoshioka, and especially Nendo (Oki Sato) have been well known for many years. Names to watch include Isamu Noguchi, Soichiro Kanbayashi, Hiromichi Konno, and Daisuke Kitagawa. Rising stars from the land of the rising sun. And let’s not forget Scholten & Baijings, who for many years now have been col­ laborating with Japanese Karimoku, or the mean­ ingful, often delicate work of ‘Dutch’ duo Boaz Cohen and Japanese Sayaka Yamamoto (BCXSY).

They are researching forgotten crafts and are rea­ lising their ideas with craftspeople from all over the world. Their almost modest attitude has led

Many Dutch designers are also in search of this authenticity. At the same time, the high-tech fu­ ture is being embraced, with new, experimental, sustainable materials, and innovative techniques, like CNC milling and 3D printing. For these (Dutch) designers, there most certainly is a fu­ ture; designers who are both thinkers and makers, authentic and involved, with ideas and designs that matter, relating to living and working, food and health, humans and animals. No more researching pioneers, but the experts in their field, be it a specific material, craft or technique.

Experimentation and research continue to be the most important key to innovation, but then only in collaboration with the manufacturing industry and major international companies. Examples aplenty: IKEA and Piet Hein Eek, among ­others, Auping and RENS, Luxaflex and Dutch Invertuals, Finsa and Envisions, Forbo, Baars & Bloemhoff. Together, from process to progress.

This Dutch Design is changing and leading to change, with a focus on ideas and solutions to the aesthetic, social, and economic challenges of today and tomorrow. Um, is that not exactly what Tuttobene had envisioned ten years ago?

The shelf life of Dutch Design Last year, Margriet Vollenberg organised the first Zona Future, at three locations in the Loreto 32

Foam Porcelain cupboard by Marjan van Aubel at Tuttobene in 2010. Photo by Ilco Kemmere.

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21 VENTURA FUTURE 2019 Ventura Projects/ Organisation in Design Designers

Academie Artemis, Atelier Boelhouwer, Atelier van Middendorp, Buxkin, Creative Chef Studio, Diederik Schneemann, Fabrique Publique, Jordan Artisan, Kans op Hagel, Kuang-Yi Ku, Lisa Tellekamp, Moon Gallery, Nick Boers, Pascale Theron Studio, Strategic Design MSC Delft University of technology, SOM Tales of Perfume, SPARX Living, Studentdesign, Studio Klarenbeek & Dros with Krown and Atelier Luma, Studio Nienke Hoogvliet, Studio Tinus, Wandschappen, Philipp Kolmann, Shahar Livne

Contact

Guide Carlijn Bosch +31 (0)6 4851 7367 ventura@organisationindesign.com www.venturaprojects.com organisationindesign.com

Opening time

Daily 9.30 – 20.00. Sun till 18.00

Open evening

Wed 10 April 20.00 – 22.00

Press Preview

About

Ventura Projects are carefully curated design events in major design hotspots like Milan, New York and Dubai with a specific focus on international contemporary design – both by upcoming designers as well as by established brands and labels.

After a successful first edition, Ventura Future returns to Milan Design Week at BASE Milano.

Guide Presentation

Ventura Future is an exhibition area packed full of revolutionary, innovative and ground-breaking design focused on future visions by international designers, design studios, companies and academies.

The exhibition focuses on the topics of bio-design, food, craftsmanship and technology amongst others.

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22 NATURE CALLING Fabrique Publique Designer

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Hanneke de Leeuw

Location Porta Genova FS Ventura Future BASE Via Tortona 54 & Via Bergognone 34 20144 Milan Contact

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Hanneke De Leeuw +31 (0)6 2188 2765 hanneke@fabriquepublique.nl fabriquepublique.nl

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Guide Zona Tortona

18

Guide

Design Language

Designers

Geke Lensink, Maarten Olden / USIT, The Dots magazine, and Enlightened Design with Jacqueline Harberink / JHA Porcelain, Morgan Ruben .

Exhibition design in collaboration with Royal Mosa

About

Forget words. You cast your idea in body, color, dimension and texture, and let it speak for you.

This is design’s language.

Design Language shows the wealth of cultural identities that lie behind objects. A product says a great deal about the culture in which it was developed. Design Language is a cross between a trade fair and

Location Porta Genova FS Outspoken Design Language nhow Hotel Via Tortona 35 20144 Milan

an exhibition in which diversity in approach and form is the leitmotiv. The exhibition provides common ground where different design worlds collide and new alliances are forged. Among many nationalities from all over the world we exhibit four exhibitors from The Netherlands.

20 USITdesign | Finally.. a chair safe to climb!

Designer

Maarten Olden

Location Porta Genova FS Outspoken Design Language nhow Hotel Via Tortona 35 20144 Milan

About

Guide This iconic design unites Maarten Olden’s knowledge and passion for furniture and industrial design with the personal mission of Caspar Lampe to create an unique stepladder. Beautiful enough to fit in the interior of today and yet also meeting the highest standards of the ladder industry. We are proud to present our revolutionary stepladder – chair combination at the Milan Design Week 2019.

Presentation

The USIT is both an incredibly safe stepladder as well as a very comfortable chair. The use of strong aluminium combined with the warm appearance of wood makes the USIT beautiful to see, comfortable to sit on and safe to climb.

Now available at usitdesign.com.

Photo: Thomas van Schaik Styling: Eddy Frings

Contact

USITdesign +31 (0)20 6580600 office@usitdesign.com usitdesign.com

Contact

Mon 8 april 13.00 – 17.00 Opening cocktail Mon 8 april 18.00 – 22.00 (rsvp@thedots.nl)

Mon 8 April 13.00–17.00

Daily 10.00 – 20.00

David Heldt +31 (0)6 1551 0727 designlanguage@thedots.nl designlanguage.thedots.nl

Opening time

Press Preview

Opening time

Daily 10.00–20.00

Press Preview

Opening cocktail

Mon 8 April 18.00–22.00 (rsvp@thedots.nl)

19 THE DOTS MAGAZINE 2009 – 2019 CELEBRATING 10 YEARS OF CONNECTING THE DUTCH Connecting the Dots Editor in chief David Heldt

Location Porta Genova FS Design Language nhow Hotel Via Tortona 35 20144 Milan

About

The Dots magazine was founded in 2009 to unite Dutch design and communicate its designers internationally. This year The Dots celebrates its tenth anniversary and its tenth Milan edition. Over 150 Dutch designers were portrayed and interviewed and The Dots created a platform to many influentials to give their opinion, leaving a divers image of a creative and enterprising breeding ground. The Dots magazine consists of an editorial part and a guide of Dutch design at the Milan Design Week, its focus is always content driven, revealing the latest developments in design culture.

Presentation

An installation from the 150 portraits that were made from Dutch designers over the years.

Photographers: Boudewijn Bollmann, Roos Kroes, Daphne Kuilman, Ilco Kemmere and Judith Jockel.

Contact

+31 (0)6 1551 0727 connecting@thedots.nl thedots.nl

Opening time

Daily 10.00 – 20.00

Press Preview

Mon 8 April 13.00 – 17.00

Opening cocktail

Mon 8 April 18.00 – 22.00 (rsvp@thedots.nl)

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13

JAPTH

Designers

By Belli (Patrick and Riccardo Belli), Daphna Laurens, Richard Hutten, Yksi Ontwerp/ Kees Heurkens

Location Dante Cordusio Masterly - the Dutch in Milano Palazzo Francesco Turati Via Meravigli 7 20123 Milan

12 FUTURE/ HISTORY Cor Unum Designers

Guide About

Bas van Beek, David Derksen, Kiki van Eijk, Floris Hovers, Studio Maarten Kolk & Guus Kusters, Satyendra Pakhalé, Studio Rens, Roderick Vos, Alex de Witte

Location Dante Cordusio Masterly - the Dutch in Milano Palazzo Francesco Turati Via Meravigli 7 20123 Milan

Founded and based in The Netherlands, (1953) Cor Unum produces ceramic products designed by leading international designers, architects and visual artists. We take social and cultural responsibility for the legacy of the ceramic crafts. Our mission is brought to the market through a team consisting of professionals, students, people with distance from the labour market, designers and volunteers. We all share one common passion: everyone deserves a place, everyone has got a talent and anyone can contribute to make our world somewhat nicer.

Presentation

Future/History: This year Cor Unum celebrates her 65th. birthday. A milestone we mark with a special theme: Future/ History. We asked major Dutch designers of our time to explore how designs and designers of the past can influence designer’s idiom of today and tomorrow. This search resulted in a wonderful collection which will premiere at the Salone dell Mobile During the Salone we will be part of the Dutch Pavilion in the Palazzo Francesco Turati with a booth at the fascinating historic 1ste floor, room 27.

16 REFLECTIONS Royal Mosa Designers

Mosa design team

Location Dante Cordusio Masterly - the Dutch in Milano Palazzo Francesco Turati Via Meravigli 7 20123 Milan

About

At Mosa, we have a passion for ceramics. For over 130 years, we have been manufacturing tiles using the purest materials and the magic of innovative Dutch design. By embracing the Cradle to Cradle® philosophy and being committed to offering the best support, we enable our clients around the globe to create signature buildings that last.

Guide Presentation

Presenting pure ceramic surfaces, Mosa creates a unique experience that brings together the old and the new, using contemporary tiles in a bespoke spatial installation with a historical twist. With Terra Tones floor tiles and the elements of light and perspective, Mosa’s showcase is engaging and interactive.

Contact

info@mosa.com +31 (0)43 368 8839

Opening time

Daily 11.00-19.00. Tue till 17.00.

Wed till 22.00. Sun till 16.00

Contact

Lotte Landsheer +31 (0)6 4877 5189 charlottelandsheer@gmail.com cor-unum.com

Press preview

Mon 8 April 15.00-18.00

Opening cocktail

Tue 9 April 18.30-21.00 (by invitation only)

Opening time

Daily 11.00-19.00. Tue till 17.00.

Wed till 22.00. Sun till 16.00

Press preview

Mon 8 April 15.00-18.00

Opening cocktail

Tue 9 April 18.30-21.00 (by invitation only)

About

Presentation

JAPTH (‘just a perfect thing’) is a Dutch design label. The collection consists of LED design lighting with the possibilities and features of LED technology as the key elements. Besides high quality and sustainable use of materials, JAPTH designs stand out because of their subtle and unique design with a distinct character.

JAPTH will launch four new designs of their brand new LED design lighting collection at Masterly- the Dutch Pavilion.

This collection embraces JAPTH: high quality, sustainable use of materials and a distinctive character. JAPTH joined forces with well-known Dutch designers and up-and-coming young talent.

See you there?

Contact

Eduard Sweep +31 (0)6 4198 8308 info@japth.com japth.com

Wilfred Kalf

Princess Margarita de Bourbon de Parme

15 REMBRANDTS GOLD #1 Wilfred Kalf

14 REMBRANDTS GOLD #1 De Parme Design

Designer

Location Dante Cordusio Masterly - the Dutch in Milano Palazzo Francesco Turati Via Meravigli 7 20123 Milan Contact

Margarita de Bourbon de Parme +31 (0)6 1430 5020 deparmedesign.com bourbon@deparmedesign.com

Opening time

Daily 11.00-19.00. Tue till 17.00.

Wed till 22.00. Sun till 16.00

Opening time

Daily 11.00-19.00. Tue till 17.00.

Wed till 22.00. Sun till 16.00

Press preview

Mon 8 April 15.00-18.00

Press preview

Opening cocktail

Mon 8 April 15.00-18.00

Tue 9 April 18.30-21.00 (by invitation only)

Opening cocktail

Tue 9 April 18.30-21.00 (by invitation only)

Designer

Location Dante Cordusio Masterly - the Dutch in Milano Palazzo Francesco Turati Via Meravigli 7 20123 Milan Contact

Wilfred Kalf +31 (0)6 2439 3661 info@wilfredkalf.nl wilfredkalf.nl

Opening time

Daily 11.00-19.00. Tue till 17.00.

Wed till 22.00. Sun till 16.00

Press preview

Mon 8 April 15.00-18.00

Opening cocktail

Tue 9 April 18.30-21.00 (by invitation only)

17 BROTHERS AND SONS IN FULL COLOR Brothers and Sons

Designers

Geke Lensink, Jesse Visser

Location Dante Cordusio Masterly - the Dutch in Milano Palazzo Francesco Turati Via Meravigli 7 20123 Milan

About

BROTHERS AND SONS is determined to create pioneering design in a timeless form using innovative and sustainable materials. Thanks to pure craftsmanship, courage and research, the at times seemingly impossible is made possible.

Breaking the standards by stretching the boundaries of design and production.

Presentation

The Brothers and Sons showcase in Milan is an explosion of deep colors with a touch of glamour.

A visual experiment that explores the infinite possibilities that arise when you combine bursts of color with minimalist design.

Experience everything that makes design exciting. Visit us in the Small Courtyard at Palazzo Francesco Turati.

Contact

Brothers and Sons +31 (0)88 0270 900 info@brothersandsons.com brothersandsons.com

Opening time

Daily 11.00-19.00. Tue till 17.00.

Wed till 22.00. Sun till 16.00

Press preview

Mon 8 April 15.00-18.00

Opening cocktail

Tue 9 April 18.30-21.00 (by invitation only)

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06 VENTURA CENTRALE 2019 VENTURA PROJECTS / ORGANISATION IN DESIGN

About

Guide

07 ALL NEW LENSVELT & MODULAR LIGHTING INSTRUMENTS

After the overwhelming success of the first two editions, Ventura Centrale yet again opens the beautiful abandoned warehouses alongside Milan’s Central Station during the Milan Design Week.

The massive industrial warehouses under the Milan Central Station will once again be filled with majestic installations by renowned international companies, design labels and studios.

Carlijn Bosch +31 (0)6 4851 7367 ventura@organisationindesign.com venturaprojects.com organisationindesign.com

Ventura Projects are carefully curated design events in major design hotspots like Milan, New York and Dubai with a specific focus on international contemporary design – both by upcoming designers as well as by established brands and labels.

Designers

Weltevree, Lensvelt & Modular, Maarten Baas

Location Pasteur Ventura Centrale Via Ferrante Aporti 9 20125 Milan Contact

Presentation

Designers

Atelier van Lieshout, Baranowitz & Kronenberg, Fabio Novembre, Gerrit Rietveld, i29, Luc Binst/ B brand, Maarten Baas, Maarten Van Severen, Office for Metropolitan Architecture, Richard Hutten, Rick Minkes, Stefaan Jamaer, Studio Piet Boon

Location Pasteur Ventura Centrale Via Ferrante Aporti 19 20125 Milan Contact

Opening time

Mon 8 April 15.00-19.00

Maarten Statius Muller +32 486 426 896 maarten@lensvelt.com lensvelt.com

Daily 10.00 – 20.00. Sun till 18.00

Opening time

Press Preview

Daily 10.00 – 20.00. Sun till 18.00

Press Preview

Mon 8 April 15.00-19.00

Opening cocktail

About

Lensvelt is a non-design furniture label established in 1962 in Netherlands providing architects & interior-designers with the ingredients to create great interiors. Lensvelt manufactures innovative interior solutions for every work, play, relax and think space.

Modular Lighting Instruments has been rewriting the rules for architectural lighting since 1980 and comes to Ventura Centrale with luminaires that leave the audience impressed, enlightened and maybe even a little bit puzzled.

Presentation

Two distinct brands Lensvelt and Modular Lighting Instruments merge together in a performance: ALL NEW! In collaboration with the scenography of Janpaul Scholtmeijer ( JPS Architects), the rough, industrial space under the arches of Ventura Centrale is being transformed into a brand new athmospheric theater where the directors Modular and Lensvelt give a spectacular show.

09 THE MUSEUM Space Encounters x Creative Holland

Designers

Space Encounters, Reinier van der Aart, Gerrit Rietveld, Wiebe van de Ende, Joep Beving, Jan Robert Leegte

About

Space Encounters is the initiator and architect of the museum. In their practice, Space Encounters liberates itself from the dogma of strict functionalities and researches old and new forms of space and material, free from self inflicted burdens.

Location Dante Cordusio Palazzo Clerici Via Clerici 5 20121 Milan

Guide Presentation

‘The Museum’ is similar to no other museum. Nothing is imposed or explained to you. It is a journey through a collection of spaces that changes your perception of time.

A single journey that completely resets your focus, because it’s only when you are truly focused that everything becomes clear. A world of Dutch creativity – within one experience.

Contact

Remi Versteeg +31 (0)6 1881 3609 info@themuseum.eu themuseum.eu

About

Guide Masterly

Presentation

Weltevree invites you to a ‘classic pool party’ translated to their unique unplugged ideas on outdoor living. Featuring new products

by Joep van Lieshout, Tom Fereday, Lex Pott and art-director Floris Schoonderbeek, the vaults underneath Milan Central Station will be transformed into a lively evening setting by the pool.

At Weltevree we believe in reconnecting to our physical and social surroundings and finding contentment close at hand. Our mission is to contribute to a more conscious, social and content life by providing products that activate and enrich the use of your environment.

10 NEW MATERIAL AWARD Het Nieuwe Instituut, Fonds Kwadraat & DOEN Foundation

About

Contact

Press preview

Wed 10 April 20.00 – 01.00 (RSVP: milanodesignweek2019@ lensvelt.com)

08 ONCE UPON A POOL… Weltevree Designers

Joep van Lieshout, Tom Fereday, Lex Pott, Floris Schoonderbeek

Location Pasteur Ventura Centrale Via Ferrante Aporti 19 20125 Milan

The New Material Award offers a platform to a generation of designers who dare to ask fundamental questions about industrial production processes and natural growth, waste flows and residual materials.

Location Rovereto ALCOVA Via Popoli Uniti 11 20125 Milan

Opening time

Daily 10.00 - 20.00.

Sun. 14 Apr. closed.

Ellen Zoete +31 (0)6 5706 0734 e.zoete@hetnieuweinstituut.nl newmaterialaward.nl

Mon. 08 Apr. 13.00 – 17.00

Opening cocktail Thu. 11 Apr. 17.00

Design: Ruben Esser

11 MASTERLY – THE DUTCH IN MILANO Dutch Pavilion Designers

Among others: Royal Mosa, Richard Hutten, Japth, Forbo Flooring Systems, H.R.H. Princess Margarita de Bourbon de Parme, Moooi Carpets and Cor Unum.

Location

About

It is with great pride that Dutch curator Nicole Uniquole introduces to you the fourth edition of the Dutch pavilion in Milan. It is a true honour to build such an energetic centre in this city with inspiring enterprises and designers who stand tall and proud in design.

Dante Cordusio

Opening time

Daily 11.00 – 19.00

Press preview

Mon. 8 Apr. 9.30 – 17.30

Opening cocktail

Tue. 11 Apr. 18.00 -20.30

Presentation

Once a year, for one week, the extraordinary Palazzo Francesco Turati is showered with a high dose of Dutch design essence.

Featuring interdisciplinary exhibitions and solo presentations the perfect pavilion experience comes full circle. Meet the minds and makers and start your Salone experience here. This year in Rembrandt style!

Masterly - the Dutch in Milano Palazzo Francesco Turati Via Meravigli 7 20123 Milan

Contact

Sarah Smit +31 (0)6 1479 9325 sarah@weltevree.nl weltevree.eu

Contact

Nicole Uniquole +31 (0)6 5025 3961 info@uniquole.nl masterly.nu

Opening time

Daily 10.00 – 20.00. Sun till 18.00

Press Preview

Mon 8 April 15.00-19.00

Opening time

Opening cocktail

Daily 11.00-19.00. Tue till 17.00.

Wed till 22.00. Sun till 16.00

Wed 10 April 20.00-01.00 (RSVP: sarah@weltevree.nl)

Press preview

Mon 8 April 15.00-18.00

Opening cocktail

Tue 9 April 18.30-21.00 (by invitation only)

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03 I SEE THAT I SEE WHAT YOU DON’T SEE Het Nieuwe Instituut Participants

Academy for Urban Astronauts, Ramon Amaro, Danilo Correale, Design Academy Eindhoven, Research and Heritage departments Het Nieuwe Instituut, Lucy McRae, Melvin Moti, Bregtje van der Haak, Pascal van Hulst, Oscar Peña, Richard Vijgen and Leanne Wijnsma. Commissioner: Guus Beumer, Het Nieuwe Instituut.

Curators: Angela Rui, Marina Otero Verzier, and Francien van Westrenen

About

I See That I See What You Don’t See, the Dutch contribution to the XXII Triennale di Milano, presents a layered, non-binary, and sometimes unexpected picture of the current multispecies relationship with darkness.

Guide Presentation

The project argues that today’s environment, where the borders between nature, ecology, technology and culture increasingly fade, is the result of persistent acts of design. Design is, therefore, positioned as a destructive as well as restorative endeavour, and one involved in the body’s changing relationship with the cycles of light and darkness.

Photo: Daria Scagliola

05 A LIFE EXTRAORDINARY MOOOI Designers

Marcel Wanders, Kranen/Gille

Location

About

Guide Moooi doesn’t tell designers what to do, but listens to what designers want to make, try to realise their dreams. Eclectic and always on the edge of commercial reality and cultural interest. To trigger, to create conversation pieces which make your environment more special, a life extraordinary.

Presentation

Moooi brings a sense-tickling brand experience, hosted at a new location: Mediateca St. Teresa, Via della Moscova 28 Brera.

The lifestyle brand will showcase once more what a life extraordinary means, offering visitors to submerge themselves in a world that’s luxurious,

Moscova Moooi Via della Moscova 28 Brera, Milan

whimsical and original. During Salone del Mobile Moooi will introduce its newest member of the Extinct Animal family, which presents revolutionary denim suitable for interior usage. Furthermore, Moooi will showcase two new designs which will be immediately available for purchase; the BFF Sofa, by Marcel Wanders and The Party, by Kranen/Gille.

Contact

Loes Wijnstekers +31 (0)6 1128 2505 press@moooi.com moooi.com

Location

Lanza Brera Piccolo Teatro Triennale di Milano Viale Alemagna, 6 20121 Milan

Opening time

Daily 10.00 – 20.00.

Sun 10.00 – 17.00

Press Preview

Mon 8 April 13.30-18.00

Contact

Ellen Zoete +31 (0)6 5706 0734 e.zoete@hetnieuweinstituut.nl

Opening time

1 March – 1 September, 2019 Tues to Sun, 10.30 – 20.30

04 VELVET CAFE Social label Works Working together Social label Designers

Founders Petra Janssen & Simone Kramer Social label product lines: Ilse Crawford & Oscar la Pena, Piet Hein Eek, Dick van Hoff, Edwin Vollebergh, Borre Akkersdijk, Kiki van Eijk, Kranen/Gille, Joost van Bleiswijk, Studio Rens, Haiko Meijer, Roderick Vos, Edward van Vliet and various sheltered workshops.

Collection & community

Social label Foundation A platform for designing labour to generate new opportunities and demonstrate what meaningful design can do to create an inclusive society with enjoyable work for all.

In collaboration with leading designers and sheltered workshops throughout the Netherlands – from care organisations to businesses – Social label is creating a design collection that builds a sense of self-worth and opens up new perspectives.

New label & New book

SOCIAL LABEL > VELVET, A folding stool with velvet seat by designers Ilse Crawford and Oscar Peña in collaboration with Jobfactory, Royal Dutch Raymakers and the city of Helmond, the Netherlands.

Social label Works

Designing labour, design with meaning. Petra Janssen (Studio Boot) and Simone Kramer (C-mone) have written and designed a new publication, ‘Social label Works’.

Location Porta Garibaldi Aura Dinamica Studio Via Cola Montano 13 20159 Milan Contact

Petra Janssen +31 (0)6 5397 3047 petra@sociallabel.nl sociallabel.nl

Opening time Daily 10.30–19.00 official launch label&book monday 8 april 17.00–19.00

Live Workshops

Tue, Fri, Sat 14.00–16.00

Lecture Wed 10 April 14.00

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Guide

Milan Metro Map

Guide Fuorisalone SESTO RONDO

COMASINA

SESTO MARELLI

M1

MACIACHINI

BICOCCA

CASCINA GOBBA

About

Dutch Invertuals is a company originating in the Netherlands, consisting of radical thinkers in design. Established in 2009 by Wendy Plomp, Dutch Invertuals has in the past ten years evolved into a brand that is well known for its unrestrained creativity and its explicit visions on design.

Presentation

The design collective celebrates their 10th anniversary with a bold statement. This years exhibition explores one of the most iconic shapes in the universe: the circle.

Contact

COLOGNO SUD

GÀ GRANDE

ISTRIA

Dutch Invertuals +31 (0)6 1123 5350 press@dutchinvertuals.nl dutchinvertuals.nl

M2

CRESCENZAGO CIMIANO

Opening time

MARCHE

Daily 10.30 – 20.00. Sun till 17.00

Press preview

Mon 9 April 17.00 – 19.00

LAMBRATE FS PASTEUR

Cocktail

Fri 12 April 19.00 – 23.00

PIOLA

SONDRIO

ISOLA GERUSALEMME CENISIO

Designers

Location Porta Garibaldi O’ Via Pastrengo 12 20159 Milan

VILLA SAN GIOVANNI

M3

AFFORI

MOLINO DORINO

GORIA

DERGANO

TRE TORRI

MONUMENTALE AMENDOLA FIERA

CENTRALE FS GIOIA

LORETO

CAIAZZO

PORTA GARIBALDI LIMA

REPUBBLICA

MOSCOVA TURATI

PORTA VENEZIA

LANZA BRERA PICCOLO TEATRO

01 THE CIRCLE Dutch Invertuals

Architects of Identity (Edhv), Bram Vanderbeke, Carlo Lorenzetti, Daniël de Bruin, Daphna Laurens, Hongjie Yang, Nel Verbeke, Nina van Bart, Max Lipsey, Raw Color, Martens & Visser, Jeroen Wand, Jólan van der Wiel and more.

BIGNAMI

FIERA

M5 PONALE

RHO-FIERA TAV

PERO

PRECOTTO

M1

AFFORI CENTRO

SAN LEONARDO

TURRO BONOLA

UDINE ROVERETO

URUGUAY ZARA LAMPUGNANO

Q.T.8.

PORTELLO

DOMODOSSOLA FN

LOTTO

M5 SEGESTA SAN SIRO IPPODROMO

FUORI SALONE

SAN SIRO STADIO BUONARROTI

02 GEO—DESIGN: ALIBABA. FROM HERE TO YOUR HOME – Design Academy Eindhoven

MONTENAPOLEONE PALESTRO

CADORNA FNM-TRIENNALE

PAGANO WAGNER

CONCILIAZIONE

DE ANGELI

SAN BABILA

CAIROLI CASTELLO DANTE CORDUSIO

GAMBARA SANT’AMBROGIO

BANDE NERE

Designers

DUOMO

Curated by Joseph Grima and Martina Muzi, presenting the work of Arvid&Marie, Maxime Benvenuto, Allison Crank, Leif Czakai & Timm Donke, Jing He, Isabel Mager, Martina Muzi, Irene Stracuzzi, and Alice Wong & Aryan Javaherian.

ITALIA MISSORI

MASTERLY

SANT’AGOSTINO

PRIMATICCIO

CROCETTA

INGANNI

PORTA ROMANA

M1

PORTA GENOVA FS LODI TIBB FS

BISCEGLIE

ZONA TORTONA

BRENTA

M3

About

Design Academy Eindhoven (DAE) is one of the most acclaimed institutions for design learning in the world. It is recognised for its forward-thinking and renowned professors and alumni, who have made great advances in the design field. DAE is an accredited university of the arts, offering both BA and MA degrees, specialised in higher education in design.

Presentation

GEO—DESIGN presents original research by Design Academy Eindhoven alumni on Alibaba, the world’s largest virtual shopping mall, linking cities, ports and factories in China to the world.

Alibaba is a powerful agent in every stage of today’s design process. The exhibited designers explore this geopolitical force through creative investigations.

Work by Jing He Photo Marcel de Buck

Location Pasteur Via Marco Aurelio 21 20127 Milan

CORVETTO ROMOLO

PORTO DI MARE

M2

Contact

Design Academy Eindhoven +31 (0)40 239 3939 info@designacademy.nl designacademy.nl

ROGOREDO F.S.

FAMAGOSTA SAN DONATO

ABBIATEGRASSO CHIESA ROSSA

Opening time

Daily 10.00 – 19.00 Press preview Mon 8 April 10.00 – 12.30 Opening cocktail Thu 11 April 19.00 (INVITE ONLY)

City map with locations: see pages 35-34 45

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Reinier van der Aart 09 p.40 Academie Artemis 23 p.35 Academy for Urban Astronauts 03 p.43 Onno Adriaanse 11 p.40 Ahrend 11 p.40 Borre Akkersdijk 04 p.43 Ramon Amaro 03 p.43 Architects of Identity 01 p.44 Jordan Artisan 23 p.35 Marjan van Aubel p.26-28 Maarten Baas 06-07 p.41 p.28-29 Gijs Bakker p.12-14 Baranowitz & Kronenberg 07 p.41 Nina van Bart 01 p.44 Beddinghouse 11 p.40 Bas van Beek 12 p.39 Bertram Beerbaum 11 p.40 Pieke Bergmans p.4-6 Guus Beumer 03 p.43 Joep Beving 09 p.40 Luc Binst 07 p.41 Daria Biryukova 10 p.40 Meintje Bleeker 11 p.40 Joost van Bleiswijk 04 p.43 Blok Plaatmateriaal 11 p.40 BN International 11 p.40 Karel Bodegom 11 p.40 Atelier Boelhouwer 21 p.35 Nick Boers 21 p.35 Adrien Borderie p.2 p.3 Boudewijn Bollmann 19 p.37 Piet Boon 07 p.41 Borek 11 p.40 Luca Boscardin 11 p.40 H.R.H. Princess Margarita de Bourbon de Parme 11 p.40 Jacco Bregonje p.20-22 Arian Brekveld 11 p.40 Telesilla Bristogianni 10 p.40 Robert Bronwasser 11 p.40 Brothers and Sons 17 p.38 Daniël de Bruin 01 p.44 bureau SLA 10 p.40 Buxkin 21 p.35 ByBelli 11 p.40 13 p.39 Carpentier & Argenta 11 p.40 Cartoni Design 11 p.40 Studio Chris Kabel 10 p.40 Robbrecht Collection 11 p.40 Cooloo 11 p.40 A.D. Copier 11 p.40 Cor Unum 12 p.39 Danilo Correale 03 p.43 Ilse Crawford 04 p.43 Creative Chef Studio 21 p.35 De Parme Design 14 p.39 De Ploeg 11 p.40 Decolegno by Cleaf 11 p.40 Dekton® by Cosentino 11 p.40 Sebiha Demir 11 p.40 David Derksen 12 p.39 Design Academy Eindhoven 02 p.44 03 p.43 p.30 Design Language 18 p.37 DOEN Foundation 10 p.40 Dros with Krown 21 p.35 Duinker & Dochters 11 p.40 Maaike Duivekam 11 p.40 Dutch Invertuals 01 p.44 p.31

Index Glenn Ederveen 11 p.40 Edhv 01 p.44 Piet Hein Eek 04 p.43 Annet van Egmond 11 p.40 Eigengijs 11 p.40 Kiki van Eijk 04 p.43 12 p.39 Xandra van der Eijk 10 p.40 Monique van Empel p.28-33 Wiebe van de Ende 09 p.40 Enlightened Design 18 p.37 Enschede Textielstad 11 p.40 Envisions 10 p.40 Thomas Eurlings 11 p.40 Fabrique Publique 22 p.35 Mark Fase 11 p.40 Tom Fereday 08 p.41 Fields 11 p.40 Fonds Kwadraat 10 p.40 Forbo Flooring Systems 11 p.40 Ghyczy 11 p.40 Olivier Goethals 03 p.43 Stefan Gross 11 p.40 Rudy Guedj 03 p.43 Bregtje van der Haak 03 p.43

Roos Kroes 19 p.37 Kuang-Yi Ku 21 p.35 Agne Kucerenkaite 10 p.40 Daphne Kuilman 19 p.37 Eric Kuster 11 p.40 Abet Laminati 11 p.40 Daphna Laurens 10 p.40 13 p.39 Victor le Noble p.10-11 Jan Robert Leegte 09 p.40 Hanneke de Leeuw 22 p.35 Geke Lensink 17 p.38 18 p.37 Lensvelt 07 p.41 Joep van Lieshout 07 08 p.41 Berend van der Linde 11 p.40 Max Lipsey 01 p.44 Shahar Livne 01 p.44 21 p.35 Quinten Lokhorst 11 p.40 Jan Koen Lomans 11 p.40 Carlo Lorenzetti 01 p.44 Atelier Luma 01 p.44 21 p.35 Alexander Marinus 01 p.44 Martens & Visser 01 p.44 Masterly – The Dutch in Milano 11 p.40 MAX&LUUK 11 p.40 Lucy McRae 03 p.43 Haiko Meijer 04 p.43 Remy Meijers 11 p.40 Mireille Meijs p.25-26 Melissa Peen X Prades 11 p.40 Frieda Mellema 11 p.40 Ramon Middelkoop 11 p.40 Rick Minkes 07 p.41 Modular 07 p.41 Monasch by Best Wool 11 p.40 Moon Gallery 21 p.35 Moooi 05 p.42 p.7-9 Moooi Carpets 11 p.40 Melvin Moti 03 p.43

Haller Brun p.3 Jacqueline Harberink 18 p.37 Heatfun by De Pillen Group 11 p.40 David Heldt 18 19 p.37 p.3 p.10-11 Anouk van Herpen 11 p.40 Osiris Hertman 11 p.40 Het Nieuwe Instituut 03 p.43 10 p.40 Kees Heurkens 13 p.39 Dick van Hoff 04 p.43 Nienke Hoogvliet 21 p.35 Floris Hovers 12 p.39 Bart Huijpen 11 p.40 Pascal van Hulst 03 p.43 Richard Hutten 07 p.41 11 p.40 13 p.39

New Material Award 10 p.40 Linda Nieuwstad 11 p.40 Fabio Novembre 07 p.41 Milla Novo 11 p.40

i29 07 p.41 Ikonic Toys 11 p.40 Stefaan Jamaer 07 p.41 Petra Janssen 04 p.43 JAPTH 13 p.39 Aryan Javaherian 02 p.44 Jess Design 11 p.40 JHA Porcelain 18 p.37 Judith Jockel 19 p.37 Frits Jurgens 11 p.40

Office for Metropolitan Architecture 07 p.41 Faidra Oikonomopoulou 01 p.44 Maarten Olden 20 p.36 Timo van Oostrum 11 p.40 Overtreders W 01 p.44 Satyendra Pakhale 11 p.40 12 p.39 Oscar Peña 03 p.43 Annemarie Piscaer 01 p.44 Wendy Plomp 01 p.44 p.18-20 Lex Pott 08 p.41

Wilfred Kalff 15 p.38 Kans op Hagel 21 p.35 Studio Kars + Boom 11 p.40 Ilco Kemmere 19 p.37 Iris de Kievith 10 p.40 Studio Klarenbeek 21 p.35 Klarenbeek & Dros 10 p.40 21 p.35 Knitwear Lab 11 p.40 Koehorst in ’t Veld 19 p.37 Chris Koens 11 p.40 Kolk & Kusters 11 p.40 12 p.39 Philipp Kolmann 21 p.35 Ernst Koning 11 p.40 Thed Konings 11 p.40 Simone Kramer 04 p.43 Kranen/Gille 04 p.43 05 p.42

Rademakers Gallery 11 p.40 Raw Color 01 p.44 Studio Rens 04 p.43 12 p.39 Frans van Rens 11 p.40 Gerrit Rietveld 07 p.41 09 p.40 Carina Riezebos 11 p.40 Royal Leerdam Crystal 11 p.40 Royal Mosa 16 p.38 18 p.37 p.25-26 Morgan Ruben 18 p.37 Angela Rui 03 p.43 Hugo de Ruiter 11 p.40

Nathalie Schellekens 11 p.40 Diederik Schneemann 21 p.35 Joana Schneider 11 p.40 Scholten & Baijings p.23-24 Floris Schoonderbeek 08 p.41 Maayke Schuitema 11 p.40 Ekatarina Semenova 10 p.40 Maarten van Severen 07 p.41 Inge Sluijs 10 p.40 Bibi Smit 11 p.40 Social label 04 p.43 SOM Tales of Perfume 21 p.35 Space Encounters 09 p.40 SPARX Living 21 p.35 Basse Stittgen 10 p.40 Stoll Italia 11 p.40 Strategic Design MSC Delft University of technology 21 p.35 Studentdesign 21 p.35 Joost Swarte 11 p.40 Team Thursday p.3 Lisa Tellekamp 21 p.35 The Dots magazine 19 p.37 The Museum 09 p.40 Pascale Theron 21 p.35 Marie Cecile Thijs 11 p.40 Studio Tinus 21 p.35 Tuttobene p.10-11 USIT

Guide

Elevating Creative Minds

20 p.36

Van Besouw 11 p.40 Atelier Van Middendorp 21 p.35 Van Ruysdael 11 p.40 Bram Vanderbeke 01 p.44 Ventura Centrale 06 07 08 p.41 Ventura Future 21 22 p.35 Nel Verbeke 01 p.44 Thijs Verhaar 11 p.40 Marina Otero Verzier 03 p.43 Lucas Verweij p.15 Richard Vijgen 03 p.43 Jesse Visser 17 p.38 Arnout Visser 11 p.40 Sanne Visser 10 p.40 Viveka van de Vliet p.5-28 Edward van Vliet 04 p.43 Edwin Vollebergh 04 p.43 Margriet Vollenberg p.16-17 Roderick Vos 04 p.43 12 p.39 Carina Wagenaar 11 p.40 Jeroen Wand 01 p.44 Marcel Wanders 05 p.42 p.7-9 Wandschappen 21 p.35 Wave Design 11 p.40 Weltevree 08 p.41 Francien van Westrenen 03 p.43 Jólan van der Wiel 10 p.40 Leanne Wijnsma 03 p.43 Alex de Witte 12 p.39 Marcel Wolterinck 11 p.40 Preta Wolzak 11 p.40 Hongjie Yang Yksi Ontwerp

Undercurrent Amsterdam June 27 2019

MAIN SPONSOR

SPONSORS

10 p.40 13 p.39

Dekker Zevenhuizen

11 p.40

CREATIVE HEROES AWARD IS INITIATED BY DESIGNCONNECTOR AND CONSEPTORY

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Guide

Dutch Design Milan 2019 Yearbook THE GUIDE: DAE, Moooi, Masterly, Ventura Centrale, Dutch Invertuals, Design Language, Ventura Future + 200 other NL exhibitors

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