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CONTENTS

THAILAND

INDONESIA

VIETNAM

BANGKOK CHIANG MAI BANGKOK CHIANG MAI YOGYAKARTA BANDUNG YOGYAKARTA HANOI


NOVEMBER 2019

SEPTEMBER 2019

MAY 2018

DECEMBER 2017

NOVEMBER 2018

NOVEMBER 2018

NOVEMBER 2017

OCTOBER 2019

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IN S T IT U T F R A NÇ A IS , PA R IS

PIERRE BUHLER C H A IR M A N

The Institut français in Paris is proud to support the exposition D17/20 Craft and Design in South Asia, as part of the 2020 Bangkok Design week, and the final step of a triannual project conceived in 2017 by the French Embassy in Thailand, in collaboration with the Instituts français in Hanoi and Bandung. Bringing together both French and local design innovation as well as the tradition of great artisanship, D17/20 Asean Design has been able to create a unique collection of new objects. They arise from a cross-fertilization of a design culture open to a contemporary vision and a “savoir faire” that is a genuine expression of the South East Asian uniqueness. D17/20 Asean Design is totally emblematic of one of the main missions of the Institut français, the public agency responsible for French cultural action abroad: creating and developing an intercultural dialogue, investing in the younger generation and fostering a global network.

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Moreover, this project perfectly illustrates how the act of making is as powerful as the act of design. While the digital age is geared towards dematerialisation and the primacy of robotics, both acts strongly reaffirm the value and potential of human skills and foster co-creation based on dialogue and mutual understanding. “The Institut français, under the aegis of the Ministry of Europe and Foreign Affairs and the Ministry of Culture and Communication, actively contributes to French cultural diplomacy. Its initiatives cover various artistic fields, intellectual exchanges cultural and social innovation and linguistic cooperation. Its projects and programs take local contexts into account and can be successfully implemented thanks to the vast network of the French Embassies’ cultural services, as well as the many Instituts français and Alliances Françaises present across five continents.”

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T HE E M B A S S Y OF F R A NC E IN T H A IL A ND

JACQUES LAPOUGE A M B A S S A D O R O F F R A N C E T O T H A IL A N D

The exhibition D17/20-- Design in Southeast Asia is the result of a series of encounters between designers who have created a variety of objects in Southeast Asia. It is presented for the first time as part of the Bangkok Design Week organized by the Creative and Economic Agency. It is with this partner and the Institut français that the French Embassy in Thailand initiated this exchange between France and Asia. This exhibition stems from the work produced during 8 workshops that took place in Thailand, Indonesia and Vietnam between 2017 and 2019. Local and French designers discussed their techniques, compared their points of view and took into account the different production and economic models of the companies with which they were associated. Working in close collaboration with the production units was a must from the very beginning of the project in order to place the craftsmen/ manufacturers at the heart of the creative process. 43 designers, 17 production units and more than 100 creations: furniture, tableware, tapestry, lightings, body ornaments…, designed to be reproducible, these objects reflect the interplay of the skills of craftsmen and designers where materials find new functionalities and shapes are renewed. Major environmental issues are challenging our production methods, prompting the need to take greater account of sustainability. In today’s world, the creative economy has become a powerful lever for transformation. It is perhaps more specifically through the object that our needs, uses and consumption habits are being questioned.

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The public is turning towards ecological and quality products, yet, paradoxically, never have craftsmen and users been so far apart. The designer, tuned to respond to changing consumer practices and preferences, plays the intermediary with the craftsman who is often isolated from new markets. Bringing together designers from different backgrounds, engaging them in dialogue with craftsmen and showcasing their respective talents, such are the aspirations of D17/20 -- ! The two curators of the project, CĂŠline Savoye and Sarngsan Na Soontorn, both through their choices and work approaches, explored potential outcomes. By involving students in these workshops, they also highlighted the emerging issues raised by a new generation of designers. Through this project, we sought to explore the potential answers and the heterogeneity and ideas behind them, so it was important to give time and space to this project. This presentation on the occasion of this major international design event does not bring the process to a close; on the contrary, it conveys the desire to extend these exchanges while seeking to recreate more spontaneous relations between the ecosystems of creation, production and distribution. I sincerely hope that this project will pave the way to new enthusiastic and inspiring collaborations for many designers from Asia and France.

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ME S S AGE FROM

CELINE SAVOYE GENERAL CURATORS, 2017–18

Céline Savoye studied simultaneously at Saint-Etienne Higher school of Art & Design and at the Faculty of arts (history and science of art) and has held various positions: project manager in charge of the partnership with the public establishment of the Palace of Versailles at the Museum of Fine Arts in Arras, cultural project manager at the French Embassy in Tunis, creative project manager at Cité du Design in SaintEtienne, collection director at Editions Jean-Michel Place, general curator of the 2002 and 2004 editions of the Saint-Etienne International Design Biennial.At the same time, she is involved in various international expertise in the fields of fashion, design and craftsmanship. She co-curated Design Made in Africa’s exhibition (production French Institute 2004-2008), then the exhibition The Collection, new objects from the craft and design, Tunis, in 2010 as part of her duties at the Embassy of France. In 2013, she has presented the exhibition L’objet d’un dialogue (produced by IRMACC) for the 8th edition of International Design Biennial Saint-Etienne in 2013. The exhibitions Gooood Food in 2006 and Du militaire au civil in 2002, presented as part of the 2002 and 2004 Biennales in Saint-Etienne, show a special affection for the most diverse and little-explored fields. Since 2017, she has been Director of Lille-design, a platform for economic development through design in Tourcoing (Hauts-de-France). In 2016, the French Embassy in Bangkok asked Céline Savoye to define a framework for the promotion of industrial and artisanal know-how in South East Asia through design. The result is a modus operandi in the form of workshops in companies or artisanal structures in 3 countries (Indonesia, Thailand, Vietnam), associating French and local designers with the support of the local French representations  and the French Institute in Paris.

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ME S S AGE FROM

SARNGSAN NA SOONTORN GENERAL CURATORS, 2018–...

Succeeding Celine as General curator of D17/20--, I have, with the French Embassy in Thailand and the Institute français, selected designers with very different profiles and know-how while respecting the DNA of the project which mixes the influences and techniques of artists working in 4 countries. In addition to the production of finished objects, we were eager to incorporate the research dimension, with work more focused on the potential new use of materials. We were looking for young designers, recently graduated from schools to tackle the constraints and even forward-think new ones in direct relation with the factories. At the heart of this project is the direct link with the material, the common thread between the designer and the craftsman and the relationship between designers and craftsmen; a subject often addressed at major meetings between institutions, symposia bringing together the professional sphere and public reports such as the UNESCO guidelines showing how designers can strengthen their interface and intermediary role between craft skills and contemporary creation. This focus is crucial at a time when it is clear that consumer habits need to be reconsidered. Consumption goes hand in hand with production. Positive solutions are emerging and designers are striving to bring about change more than ever. The issues are complex and the answers, seemingly infinite. Dialogue is necessary. D17/20 -- humbly nourishes the debate but the will is immense. Having first joined the D17/20-- adventure as a designer, for the first workshop in Thailand (Chiang Mai 2017), I was enthused by the energy instilled by the initiators of the project as well as their partners. Associated as well to a company, I realized just how much these discussion opportunities, these long periods of immersion in a production unit, are important. As the curator of this project and subsequently initiating the designer/ manufacturer pairings, I never ceased to be impressed with the quality of the dialogue and the speed with which ideas and prototypes originated between people who did not know each other, or often by a few exchanges of emails before the trip. More than a hundred works have emerged from these 8 workshops. I can only hope that these exchanges will give birth, through this exhibition, to other collaborations and bolster these Design-Craft discussions.

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1 HANOI VIETNAM

WORKSHOP OCTOBER 2019 Marie-Aurore Stiker-Métral Pierre Charrié Guillaume Delvigne with Hanoia

2 CHIANGMAI THAILAND

WORKSHOP DECEMBER 2017 Lauriane Beaunier Alexandre Dubreuil Patcharada Inplang Sarngsan Na Soontorn Teerapoj Teeropas Aurélien Veyrat with Prempracha and Gerard Collection

WORKSHOP SEPTEMBER 2019 Violette Vigneron Chalermkiat Somdulyawat & Kawisara Anansaringkarn with Charoen Foundry Pauline Bailay Tuangpawn Surintha with Slowstitch Studio Hugo Poirier Porameth Takhiao with Sri Pan Krua Community Florent Revellin Natthapong Kanchoei with Baan Tongkai’s wood turning

BANGKOK 3 THAILAND

WORKSHOP MAY 2O18 Mathilde Bretillot Rudee Tancharoen with Atelier Rudee Christian Ghion Jutamas Buranajade & Piti Amraranga (ODA) with Yothaka Camille Khorram Khanitha Nualtaranee with Kaniit Textile Jean-Baptiste Ricatte Jirawat Khamprom with Jirawat Leathergood

WORKSHOP NOVEMBER 2019 Anji Dinh-Van Patipat Chaipukdee, Jirawat Sriluansoi and Bundaree Raphephat (Dry Clean Only) with Termtem Studio Ester Manas & Balthazar Delepierre Wisharawish Akarasantisook with Ruenmaii Baimon Sandrine Rozier Namfon Laistrooglai with Inpaeng Indigo

4 BANDUNG INDONESIA

WORKSHOP NOVEMBER 2018 Pierrick Romeuf Iman Setyadi Handoko Hadiwijoyo with Kriya Nusantara

5 YOGYAKARTA INDONESIA

WORKSHOP NOVEMBER 2017 WORKSHOP NOVEMBER 2018 Amaury Poudray Pascaline De Glo De Besses Wisnu Purbandara with Kayu Manis with Natural House Home Deco Raditya Mahardika & Andre Suryaman

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THAILAND

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C R E AT IV E A ND E C ONOM Y A G E N C Y – T H A IL A ND C R E AT IV E A ND DE S IG N C E N T E R

APISIT LAISTROOGLAI E X E C U T IV E D IR E C T O R C E A -T C D C

Creative Economy Agency (Public Organization): CEA was established in accordance with the Royal Decree Establishing the Creative Economy Promotion Agency (Public Organization), B.E.2561 (2018), effective on 14 August 2018, to leverage Thailand Creative and Design Center (TCDC) to become the agency for the development of nation’s creative economy. The agency is responsible for supporting and developing 3 aspect, namely Creative People, Creative Business, Creative District with the collaboration between government and private sectors in both domestic and international level. Nowadays, design and learning are progressing with the integration of various fields: local wisdom, culture, technology and innovation to create the new experience to the consumers with less damage to the environment. To create creative personnel in Thailand, it needs to be done with the exchange of knowledge and perspectives from international agencies . Not only to open up to the world, but it is also to create oppor tunities for exhibitions on an international stage. Therefore, the CEA values and is opened to all form of international cooperation. In the last decade, many countries in ASIAN have established the agencies that support their creativity and design, CEA, as a result, is acting as a collaborator that pushes creativity to play a greater role in economic and social development. Therefore, CEA is playing a role as the collaborator that drives creativity to the same goal.

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At the same time, Embassy of France has initiated the project Art and Craft in Asean in 2018 to enhance the local design product in SEA to be able to compete in the international market. For Thailand itself, it considered this workshop as an opportunity for Thai designers to gain experience from working with French designers and local craft makers to get art pieces that will be exhibited in the international stage. So, CEA has searched for designers with the potential from Chiang Mai and Bangkok to create works that will benefit both parties. 4 teams were selected and they have worked since Year 2017-2020. The designers—from Thailand and France—has exchanged idea, knowledge, skill and learned from the expert in local craft such as indigo dyed fabric, ceramic and bamboo work, along with the value adding to everyday items and alternative materials such as leather, plastic, glass and so on. Their works were displayed in the D17/20 exhibition held during Chiang Mai Design Week 2018 between 8-16 December 2018, after Bangkok Design Week, 1-9 February 2020 at Marine Police Lodging, the works will be displayed in France.

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C O OR P E R AT ION A ND C ULT UR A L S E R V IC E F R E N C H E M B A S S Y IN T H A IL A ND

VANESSA SILVY FABIAN FORNI C U LT U R A L AT T A C H É E

C O U N S E L L O R F O R C O O P E R AT IO N A N D C U LT U R E

This project was launched on the premises of the Institut français in 2016. In order to implement it, it was first necessary to clear the ground, gather opinions and imagine possible relations with other countries in the area. Very quickly, it became obvious to us that artists should work together on design. The very first visit to the TCDC in Bangkok, still on the floors of a shopping mall at the time, offered designers an immense pool of resources, workspaces and the attentive support of its members. Today, just a few steps away from the Embassy, the TCDC (Thailand Creative & Design Center), now the CEA (Creative & Economic Agency), covers more than 8,000 m2 on 5 floors. In the former Central Post Office of the city, this straight and sturdy building boasts a well thought-out flow, to think and read on the one hand and work on the materials and practice on the other, making for distant yet unconfined spaces. These inspiring layouts made the project perfectly at home in this great house dedicated to Design: strong relationships sprung from talent, separated by immense distances where ideas flowed freely, before, during and after the workshops: Anticipate - build – refine. Never have designers been so close, exchanges so fluid. It was in these new premises that the first visit of the then General Curator, Céline Savoye, took place. Highly professional and extremely passionate, she advised us on the general outlines of a project and a partnership designed to be solid and nourishing with the TCDC, the designers, but also the craftsmen. When Sarngsan Na Soontorn took over this challenging mission, he added a new dimension to the project: the work of young graduates on the material with new potential uses. Without ever straying from the factory premises, the work of these young professionals enhances this exhibition with objects ready for production. This is how all the different designer profiles have interacted since the genesis of this project. Surprising creations, the brainchild of well-seasoned artists and those still hesitant to devote themselves fully to design, have seen the light of day. Often working in tandem,

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they encouraged each other to take risks, sometimes questioning the use of a material, transforming it and inventing other subtleties. In Thailand, the creative economy combines rich cultural heritage and traditional skills with the input and innovations of contemporary creation, thereby facilitating its development. On the other hand, in France the threat to know-how was very real, just a few years ago, with massive industrialization. Whilst fashion has almost always preserved this heritage: feather work, embroidery and ornaments, design also driven by the luxury brands and supported by institutions, is no longer outdone. Thailand has worked closely with the United Nations system to promote the creative economy and has made it one of the six areas of cooperation under the United Nations Partnership Framework for 2011-2016. It has a long-term commitment to the promotion and development of handicrafts, which is also reflected in major royal projects. All these artists, from countries whose policies on and approaches to craftsmanship have differed, are now coming together on common issues around creation while respecting the limits of our ecosystem, with sustainable perspectives in mind. Sobriety, in their eyes, is not synonymous with neutrality, but rather an emphasis on empathetic links between objects and their users. Designers and craftsmen, so few of whom gave in to the disposable trend, are seen today as the pioneers of sustainable development. This is an opportunity! It is the drive behind all these exchanges. We do hope that there are more great collaborations to come and new links to be forged for these creative incubators which humbly accelerate synergies between cities, especially when the current approach is more network-based.

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WORKSHOP IN BANGKOK NOVEMBER 2019

One of the spirits of Thailand is this deep and fascinating color. This series of workshops could not have come about had fashion and lifestyle designers not created with indigo. In Thai, Indigo (Indigofera tinctoria) is called khram. In the North, the manufacture of indigo clothing has become an important source of income for villagers who produce dyed clothing and cultivate real indigo on a large plantation for domestic use and sale. The plant is a lifeline for families and has become a treasure in many places like Sakon Nakhon, Nakhon Phanom, Baan Don Kao, Bung Kan, Udon Thani, etc. Fashion designers Wisharawish Akarasantisook, Ester Manas and Balthazar Delepierre spent 2 days in Surin to discover the Ruenmaii Baimon factory and choose their fabric. They decided to work with an indigo silk woven in a denim style. Sandrine Rozier and Namfon Laistrooglai went to Inpaeng Indigo in Sakon Nakorn (Northeastern

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province) and selected different indigo cotton fabrics. This workshop also addresses a subject currently very sensitive, that of sustainable development. Working with factories also pushes designers to question mass production, an issue that also affects fashion designers, like how to renew shapes and texture on an old-fashioned jacket? A second life for all consumer goods could be our future. This is how Anji Dinh-Van, Director of Andrea Crews (Paris) works with Best and Maan of Dry Clean Only. In association with Termtem Studio, they revamp the shapes of recycled clothes and create new indigo colors. Phraeva Rujinarong, Termtem’s founder, is a textile designer. Originally from Surin, she learned how to weave from her mother and today, with the weavers of the communities, she develops contemporary designs on fabric using weaving and dyeing techniques.

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UNIVERSAL WORKWARE

ESTER MANAS & BALTHAZAR DELEPIERRE

WISHARAWISH AKARASANTISOOK

is a brand created by designers Ester Manas and Balthazar Delepierre. They both studied at La Cambre in Brussels, completing a five-year course that Ester punctuated by traineeships in fashion houses such as Annemie Verbeke, Balenciaga, Paco Rabanne or Acne Studios. Ester has showcased her latest collection in several competitions such as the H&M Design Award as well as the Festival international de Mode de la Villa Noailles in April 2018. Balthazar favors a visual creative approach, collaborating with magazines, art galleries and museums.

Hailing from the Northeastern province of Buriram, Wisharawish Akarasantisook rose to become one of Thailand’s most promising young designers in the early 2010s. Amidst the wave of heavy-budgeted fashion stellars, Wisharawish’s approach to design remains utmost fundamental – more a form of selfexpression than business, and rather a creative exploration than a career. He contemplates the abstract and extracts its very essence into the material form through technical experiment, the latter at times becoming the main narrative of his fashion design.

Their fashion DNA is: one size fits all and their clothes celebrate and reward skills and craftsmanship and empower every type of woman.

Championing technical mastery, immaculate handicrafts and intricate details on pattern, Wisharawish plays with repetition of forms and geometric shapes. His expressive design oeuvre that engages the viewers’ reaction is an aftermath of his background in dramatic arts. Wisharawish’s collections are a dialogue between designer and his clothes, and then between the clothes and their viewers. Fashion becomes a narrative, and a platform for all those involved sharing their interpretations and understandings.

Portait Photo Courtesy © Pierrick Rocher. W W W.E S TE R MA NA S .COM

W W W .W IS H A R AW IS H .C O M

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RUENMAII BAIMON Surin Province From past to present, Surin province’s silk and its long heritage has always b e en re c o gni ze d for it s distinc ti ve c h a r a c t e r i s t i c s . K h u n Ta s s a n e e S u r i n t r a n o n t o f Ru e n m a i i B a i m o n inherited her family business in 1987 and one that can be traced back to 1925 when it first started trading. Khun Tassanee’s family has amassed almost a century’s worth of knowledge and expertise on silk fabric. In the early days, Ruenmaii Baimon’s business used to be limited to trading handspun silk yarn from villagers and selling the stock to weaving factories in need. With theincreasing supply of silk yarn and the growing demand for silk fabric in the market, Ruenmaii Baimon decided to build their own silk weaving factory under the name “Siam Silk” and to sell to various silk shops. Working more closely with the villagers o v e r t h e y e a r s , K h u n Ta s s a n e e also became more familiar with the problems faced by the villagers. In an attempt to help them throughout the silk production process, she founded a n o t h e r b u s i n e s s c a l l e d Ru e n m a i i Baimon in 1995. The idea was to facilitate the villagers in procuring tools for reeling, dyeing and weaving silk , as well as to implement new knowledge to improve silk production thereby reducing mistakes in the process. Ru e n m a i i B a i m o n a l s o o ff e r s f r e e patterns and warp design services for villagers, leading to the foundation of a learning center for the silk-making community to showcase the silk weaving tools of the Khmer, Kuy, and Laotian people. This center serves as a school to teach natural silk dyeing and weaving and was established to foster public knowledge and understanding of silk fabric from the grass roots up. This foresight has given rise to the c o m p a n y ’s l a t e s t i n n o v a t i o n w i t h the ground-breaking introduction of machine-washable denim fabric entirely made of silk. F B .C OM/R UE NM A II

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UNIVERSAL WORKWARE

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MULTIPLE INDIGO SHADES

SANDRINE ROZIER

NAMFON LAISTROOGLAI

Textile artist, Sandrine Rozier is specialized in natural dyes and committed to the revival of vegetable dyes by introducing their use in various structures of the living arts: Académie Fratellini, Opéra Comique, Festival International d’Art Lyrique d’Aix-en-Provence. A graduate from the IFM, she has traveled to many countries to build up her own expertise where nature, ethics, science and art are inseparable. In 2007, her approach received the support of UNESCO’s Division of Arts and Cultural Enterprise. She initiates specific vocational training courses at the GRETA de la Création, Design et des Métiers d’arts and also teaches her finishing techniques at the Ecole Nationale Supérieure des Arts Décoratifs. She was the winner of the Villa Kujoyama’s artistic residency program in 2018 and traveled around Japan for 6 months for her “Living Colors” research project where she practiced Kusakizome (vegetable dyeing) in different workshops. Through immersive chromatic compositions, Sandrine Rozier experiments with temporal and sensory processes and incites us to take a different look at color. Her work is based on the interaction of color resources and selected substrates conjuring up structural, vegetal and organic imaginary.

is currently working as Director of the River Museum Bangkok at ICONSIAM. Her domain is textile and fabric creation. Namfon is known internationally and has exhibited her work in many countries such as at the China Craft Week, the Textile Art Exhibition on Cultural Weaves between Thai & Taiwan and the Co-Exhibition with world-renowned artists. Thanks to her vast experience in art and history, she became a lecturer in fashion and design, as well as supervisor and curator for different academic and commercial projects. She is also the owner of the shoe brand “Devant”.

W W W. S A NDR INE R OZ IE R .C OM

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INPAENG INDIGO Sakon Nakorn Sakon Nakhon is famed for its local wisdom of indigo dye, handed down through the generations. Many villages, including Ban Non Rua, now thrive on producing indigo clothes. Some villages have been developing their dyeing skills to cater for the demands of the textile industry. Inpaeng Indigo is a new brand, initiated by craftsmen from the Sakon Nakorn communit y. Today, the trend to use green products is increasing.INPAENG INDIGO’s objective is to create value-added products by combininglocal know-how and knowledge. Through its action, Inpaeng is keen to preserve the patterns of ancient fabrics from the Kaleng and Yor tribes, the original tribes of the community. Mudmee patterns a re re a da p te d to th e taste s o f th e times and sometimes merged with the originalcolors and shapes. F B .C OM/B A A NINPA NG

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MULTIPLE INDIGO SHADES 1 PLAID DIAGONALE 2 SAC “DECONSTRUCTION“ 3 EPINASTIE

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VINTAGE AND TIE & DYE HIJACKING, THE COLOR OF THE NEXT DAY

DRY CLEAN ONLY ANJI DINH-VAN

PATIPAT CHAIPUKDEE

is Collection Director and Associate Director of the brand and collective ANDREA CREWS in Paris, whose work is distinguished by the practice of the Upcycling process. Upcycling is the use of a product of the textile industry that is consumed and then thrown away as a raw material for re-creation. Anji contributes to the valorization of alternatives to traditional production systems for a new sustainability. Also a member of the L140 collective, she participates in the conceptualization and realization of projects questioning the relationship between Ar t and Architecture, in harmony and with respect for the existing environment.

Since childhood, Patipat Chaipukdee has always had imaginary friends. He still converses with them, some of whom are his admired designers, fashion trailblazers and offbeat individuals. It was his strong imaginative prowess and focused attention that led him to leave his fashion studies at Bangkok University before graduating to pursue his design dreams. In 2007, with limited funds and a head full of passion and ideas, Patipat opened Dry Clean Shop in Jatujak Market, which eventually, became a haven for fashion editors, designers, stylists and fashion-forward dressers. That’s when they met together with Jirawat Sriluansoi and they started to collaborate. Since 2016 this collaboration is stronger. Graduated from Silpakorn University in Decorative Arts Faculty, fashion editor, Jirawat Sriluansoi works alongside most important photographers in Thailand. One of a few fashion stylists who can move seamlessly between runway and studio shooting, he is the master at crafting the look that both illuminates the characteristic strength of a designer’s collection and create images that transpire both his styling signature and visual oomph for fashion spreads.

W W W.A NDR E ACR E W S .COM

JIRAWAT SRILUANSOI

BUNDAREE RAPHEPHAT

Today, Dry Clean Only is an international brand differentiated itself focusing on the use of specially sought vintage tees and reworking them by mixing surprising materials with handcrafted details to turn them into unique one-of-a-kind pieces that have conquered the hearts of its loyal clients for all since the brand began. Bundaree Raphephat joined the team in 2018. W W W . D R Y C L E A N O N LY B K K . C O M

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TERMTEM STUDIO was founded by Phreava Rujinarong, a textile designer bent on fulfilling her childhood dream of spreading her weaving techniques and knowledge and experience gained through her studies and work in many weaving groups in urban Thai areas. She also aims to bring valuable traditional Thai fabrics into the modern era such as dyeing, design developments and varieties of natural fiber created by urban Thai groups. Collaborating with the fashion designers DRYCLEANONLY BKK and ANDREA CREWS, Termtem studio combined its knowledge and craftsmanship skills from indigo dyeing and JOK (original Thai weaving technique) to create new contemporary patterned fabrics.

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This tripartite collaboration has pooled eachindividual creativity and expertise into a common achievement to enhance Thai indigo craftsmanship. The development and transmission of the entire project was portrayed through imagesby the Thai photographer and video makerChantapitch Wiwatchaikamol. The meeting with Phreava Rujinarong, textile designer and founder of Termtem studio, was an opportunity to become acquainted with the process and the history of this pigment in Thailand. In Thailand, the color Indigo was previouslyassociated with the working class and farmers and used initially because of its affordable and simple nature. The dye concealed stains and wear marks on their work clothes and revived them. Indigo, the iconic color of denim clothing, is both the source and the medium that inspired the style of this collection. We chose to work with second-hand clothes picked up in Bangkok: racing T-shirts, denim jackets and trousers. Then, through various knotting and dyeing techniques performed by agile hands, patterns are layered, worn t-shirts and jackets are thendeconstructed, redesigned, transformed, and re-assembled by the Dry Clean Only workshop. The garments take on a new dimension and are reinvented.

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3 T-SHIRTS 3 T-SHIRTS TRIPLE JACKET T-SHIRT DRESS T-SHIRT DRESS TRIPLE JEANS ROPED JEANS TRENCH COAT TRENCH COAT

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WORKSHOP IN CHIANGMAI SEPTEMBER 2019

The second workshop in Chiang Mai is taking a rather specific direction and nature. Instead of finalizing proposals for the market, it challenges the use, production, material, know-how, culture, dialogue, the meaning of “local” and “global” and the pertinence and perspective of these notions. This workshop also illustrates the R&D aspect of D17/20--’s project. Associated with 4 factories, 5 French designers worked with 5 Thai designers: Violette Vigneron and Chalermkiat Somdulyawat & Kawisara Anansaringkarn from COTH studio working with the Charoen foundry team Pauline Bailay and Tuangpawn Surintha working with Slowstitch Studio on indigo Hugo Poirier and Porameth Takhiao working with Sri Pan Krua Community on coiled bamboo. In the production process, bamboo is shaped, the

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pattern is drawn, then coated with “Rak”, a natural black lacquer and gold foil. The finished product is called “Kreung Khern” or lacquerware produced using refined skills inherited from generation to generation Florent Revellin and Natthapong Kanchoei working with Baan Tongkai which is the biggest producer of turned woods in Chiang Mai. Its wood-turning expertise has been passed on for over 100 years. T h e d e s i g n e r s a re g u i d e d b y Su m a n at s ya Voharn, professor at the Faculty of Fine Arts, Design Division of Chiang Mai University. A mutual learning opportunity for the craftsmen and designers to create prototype products that advance the traditional skill beyond original equipment manufacturer-based production under the concept of sustainable use of resources.

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BRONZE CASTING RESEARCH

CHALERMKIAT SOMDULYAWAT

KAWISARA ANANSARINGKARN

VIOLETTE VIGNERON

is a designer with extensive experience in material, construction and experimentation. He graduated with a Bachelor’s degree in industrial design from Rajamangala University of Te chnolo g y L anna Chiangmai, and a Master ’s degree in product design from Silpakorn University. Despite his b a c k g ro u n d i n p ro d u c t d e s i g n , h e applies his design and construction skills to many fields, namely exhibition design, spatial design and lighting installations including being selected as a designer for light projects at Vivid Sydney. He and Kawisara founded a multidisciplinary de sign studio name d C OTH studio in 2015 with a design philosophy based on collaboration, tradition and experimentation.

is a multidisciplinary designer with broad experience in various fields of design. She star ted in interior architecture after graduating with a B.Arch degree in Interior Architecture from Chulalongkorn University and two years’ professional experience as an interior architect at Department of Architecture Co., Ltd.

Violette Vigneron‘s work derives from particular attention to processes and materials. It also comes from the association of ideas and the shifting of contexts, a process in which collaboration with stakeholders outside of design is essential. The workshop allowed her to collaborate with Bhutip Boontunbutr, a sculptor specialized in bronze casting and the COTH Design studio based in Bangkok. Together, they developed a shaping technique derived from the local traditional technique, where the usually lost ceraic mold is kept here to marry with the bronze. From this working process results a profuse production which continues between Chiang Mai and Limoges, where Violette currently devotes her time to ceramics.

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After that , she furthered her design expertise by pursuing an MA in Communication and Experience Design at Goldsmiths, University of London, before working as an exhibition designer in the UK. Currently, she is head designer at COTH studio and senior experience designer at Fire One One Co., Ltd. (Innovation Consultancy).

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CHAROEN FOUNDRY was founded by Charoen Kaewdoungsang. He followed in his father, Doungchan Keawdoungsang’s footsteps, working with the traditional casting techniques of Chiang Mai foundr y road, inherited from generation to generation for over a century now. Chiang Saen and Lanna st y le Buddha image s are the main components of his work. Bhutip Boontanbutr also working at Charoen foundry as a talented sculptor, ran the workshop with Coth Studio and Violette Vigneron. They experimented to find new possibilities with bronze. By working together for more than 2 weeks on design from traditional processes, a number of new perspectives and methods emerged. Bhutip discovered how to create new products using the traditional metal casting process. He is confident Charoen foundry will explore these new possibilities which could be developed and extended. F B .COM/ L A N N AT R A DIT IO N A LC A S T IN G /

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BRONZE CASTING RESEARCH

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INDIGO RESEARCH

PAULINE BAILAY

TUANGPAWN SURINTHA

is a graduate textile designer from Boulle school and the ENSCI-Les Ateliers. Since January 2018, she has been working with Hugo Poirier in Poirier Bailay’s Studio on projects where textile design and product design intersect.

is a designer based in Chiang Mai, Thailand. She studied fashion and textile design at Nuova Accademia di Belle Arti Milano. Currently she creates and designs textiles and clothes for Hunglei, her own small clothing brand based in Chiang Mai. She has always had a keen interest in traditional craftwork and seeks to develop it in a contemporary style.

From interior de sign to tex tile de sign, the ir pro je c t s challenge lifest yles as well as current production and distribution models. Sensitive to working with materials, the intelligence of the hand and vernacular know-how, they devote a significant part of their time to research and experimentation. Through this creative approach, in direct contact with the territor y, materials and manufacturing processes, they see each project as a testimony to a place, know-how and a particular story.

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SLOWSTITCH STUDIO was fo u n d e d i n 2 0 15 as a c re ati ve textile collaboration studio between the Thai textile designer, Kanchalee Ngamdamronk and the Russian natural dyeing enthusiast, Sergey Tishkin.After meeting in 2013 while studying with the same craftsman in rural Japan, the two co-founders established Slowstitch S tu d i o i n C h i a n g Ma i a s a wa y t o explore, document and cultivate their passion for naturally dyed tex tiles . With a strong emphasis on a unique handmade approach and commitment to sustainable practices, the studio specializes in works that are individually hand dyed using botanical colors, natural fibers and a blend of contemporar y a n d t ra d i t i o n a l d y e i n g te c h n i q u e s t o c r e a t e c o n t e m p o ra r y t e x t i l e a r t a n d l i fe st y l e p ro d u c t s . Mo st o fth e work s are inspired from traditional Japanese shibori (stitch-resist) and other dyeing techniques. All of the work is donein-house with a small team of full-time assistants at the studio. For the D17/20 project, Slowtitch helped withthe dyeing of textiles and explored the possibilities of dyeing non-textile materials such as wood and bamboo.

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INDIGO RESEARCH

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SPUN BAMBOO RESEARCH

HUGO POIRIER

PORAMETH TAKHIAO

is a product designer who graduated from Boulle school and ENSCI-Les ateliers. Since January 2018, he has been working with Pauline Bailay.

is an architect who worked in Architect 49 Chiang Mai for 5 years. He went on to form his own studio named “OUR”.

From interior de sign to tex tile de sign, the ir pro je c t s challenge lifest yles as well as current production and distribution models. Sensitive to working with materials, the intelligence of the hand and vernacular know-how, they devote a significant part of their time to research and experimentation. Through this creative approach, in direct contact with the territory, materials and manufacturing processes, they see each project as a testimony to a place, know-how and a particular story.

His work is mainly focused on architecture and interior design, and sometimes product design (furniture/ packaging design) where he has shown a lot of passion. He believes that the value of the product lies in the craftsmanship. He therefore seeks to explore new ideas and experiences with craftsmen helping him to develop his own work. His latest product design is the “Tri Rak” Collection, a coffee cup set, winning 2nd Prize from the Department of Industrial Promotion. I G . C O M / O U R _2 0 1 2

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BAANSRIPANKRUA C h i a n g M a i ’s s p u n b a m b o o c r a f t community, was originally a Xishuangbanna community which relocated to Chiang Mai during the reign of Phraya Kawila (since 1796). In the past, local villagers earned a living making traditional bamboo flower trays and various lacquerware. Nowadays, the number of local craftsmen in the community has sharply decreased, leaving only a few households still crafting spun bamboo. Soisri Khantima, the heir of a master craftsman of the Support Arts and Crafts International Center, was delighted to join this project with the aim of broadening the development of contemporary handicraft by cooperating with national and foreign organizations. This workshop has provided her with the possibility of collaborating wi th new generations . This mu tual learning opportunity has created new and interesting products, which could become new alternatives for the community. F B . C O M /S R I P U N K R U A -S P U N B A M B O O -10 8 7 7 9 2 17 17 19 70/

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WOOD TURNING RESEARCH

FLORENT REVELLIN After graduating from ENSCI (National School for Industrial design) in 2018, Florent Revellin became interested in industrial shaping processes, through approaches ranging from space design to furniture creation. Keenly attracted to the economy of means, it is with this view that he tries to create objects on the borderline between craftsmanship and industrial design, making use of clever processes to optimize all available materials in an eco-responsible production approach. Increasingly curious about the know-how related to wood, he is currently carrying out research work focused on the manufacture of toys.

NATTHAPONG KANCHOEI is a product and furniture designer, passionate about handicraft, philosophy and culture. He enjoys telling stories and conveying concepts through his work. He believes that every piece of handiwork is special and has a story worth telling. F B .C O M /D E S IG N L E A P.O F F IC IA L

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When Sarngsan Na Soontorn approached Florent toparticipate in this workshop in Chiang Mai, he was interested incollaborating with craftsmen over a short period. It was for him a rewarding form of work. With Natthapong Kanchoei, the need to define concise research steps pushed them to make choices and find compromises that brought a touch of spontaneity to the project. For Florent, teaming up with a designer from Thailand was an opportunity to put cultural differences and working tools into a permanent exchange. Florent enjoyed working with the master turner Baan Tongkai. He felt he was sharing his expertise with the two designers and, at the same time, very open to their ideas.

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BAAN TONG KAI’S WOOD TURNING Baan Tong Kai, a wood turning handicraft community in the Northern region of Chiang Mai has been producing wooden trays for over 100 years. It is home to more than 30 households of wood turning artisans. In the past, the villagers worked mainly as agricultural workers and after the harvest, the sons would receive wood lathe stations from their fathers to learn a part-time trade. This was made up of a foot pedal that could be dissembled to conveniently transport to logging sites. S eria l K hu m pa i , a l o c a l c raft sman specialized in wood turning techniques with more than 60 years of practice, still spreads his wood turning knowledge and carries on the traditional skill while remaining open to new design challenges. By collaborating with Thai and foreign designers in this project, he got to tr y out new techniques to develop his work in compliance with the international standards while perpetuating the traditional wisdom and skills. F B .COM/ B A A NT ONG K A IW OODT UR NING/

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WORKSHOP IN BANGKOK MAY 2018

tFor this second workshop in Thailand, TCDC Bangkok selected designers who, for the most part, run their own workshops. Christian Ghion, Jutamas Buranajade and Piti Amraranga were the only ones working in a furniture factory. The other three pairs worked immersively in the Thai designer’s studio. Their different skills: furniture, jewelry, leather, weaving studios, etc., prompted the group to give a common thread to their creations, in which the city of Bangkok and a common color from the streets are made well apparent.

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PARURES / ADORNMENT

MATHILDE BRETILLOT

RUDEE TANCHAROEN

Born in Paris, Mathilde Bretillot began her career in an international context between Milan, London, and Asia and then moved to Paris. She founded Mathilde Bretillot Créations in 2010. As a creator of both plural and singular artwork, Mathilde Bretillot questions the contemporary environment so as to provide global responses that are simultaneously lively, sensitive and reasoned. Her work as a designer, interior architect and scenographer results from a sustained dialogue with her clients.

lives and works in Bangkok. She is a contemporary jeweler and the director of Atelier Rudee, the first international academy of contemporary jewelry in Thailand. Rudee graduated in Industrial Design from Chulalongkorn University and completed a three-year course in Art of Contemporary Jewelry at the Alchimia School in Florence. Since 2005, her work has been published and exhibited in several countries in Europe, America, Australia, and Asia. In 2007, she won the 2nd prize and The Organizers’ Special Award in the Legnica International Jewelry Competition, Poland. In 2015, she won Designer of The Year (in jewelry design) in Thailand. Besides being a director and an instructor at Atelier Rudee, she gives talks and heads workshops on design and contemporary jewelry for universities and organizations. She also curates art, craft and design projects and exhibitions.

Mathilde Bretillot worked simultaneously as a teacher at the ESAD in Reims for 12 years (1994-2006). She was coordinator of the design depar tment , subsequently in charge of development and managed major projects. She has been a member of the Mission des Métiers d’Art for the Ministry of Culture and Communication since 2006 and has been teaching at Camondo School since 2008 as well as co-founder and Creative Director of International Design Expeditions since 2014.

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We went walking and talking, getting to know each other through our creative process. Struck by the quietness and intimacy of the temples as we stepped out of the busy and noisy streets of Bangkok, this was the feeling we wanted to capture in our project. The exquisite decorations of the temples and the refinement of the gold catching the light are what led us to “Parures”, jewelry and self-portraits. Mirrors, colors and beautiful materials such as wood, organza and hair. The necklaces stand delicately around the mirrors creating the reflection of a decorated self-portrait.

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ATELIER RUDEE is the first and only international academy of contemporary jewelry in Thailand, founded by Rudee Tancharoen. This is a place where artists, craftsmen, designers, both local and foreign, come together and share their knowledge and experience. The owner organizes jewelry and other related lectures and workshops. Atelier Rudee also runs a prestigious traditional Thai techniques workshop taught by skilled craftsmen. W W W . AT E LIE R R UDE E .C OM

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MIRROR & JEWELLERY 40 × 40 × 10 cm MIRROR & JEWELLERY 40 × 40 × 10 cm MIRROR & JEWELLERY 40 × 40 × 10 cm

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‘THAÏ-TIE’ / ‘ไทย-ไท’

CHRISTIAN GHION

O-D-A

After graduating from the Charenton School of Architecture with a degree in design, Christian Ghion founded a design studio with Patrick Nadeau. From the outset, his talent was noticed, which led him to cross paths with Andrée Putmann, Teruo Kurosaki and Philippe Starck.

Founded by Jutamas Buranajade and Piti Amraranga, O-D-A specialises in furniture and utensil design along with other design activities. Wood is the material both designers are most interested in.

These experiences and his taste for audacity opened up new creative horizons for him. In addition to furniture design (Cappellini, Driade, XO), he creates emblematic objects (Daum, Salviati, Nespresso), works in interior design (the Pierre Gagnaire restaurants in Paris, Tokyo and Dubai) and exhibition scenography (Fondation Cartier and Musée des Arts décoratifs). His latest creations include a series of remarkable vases made of crystal pâte for Daum and a new collection of knives for Forge Laguiole.

O-D-A has won several awards in local and international design competitions. Currently, it is designing children’s furniture for the Japanese brand Katoji, as well as designing and manufacturing items under their own brand. W W W . O B J E C T D E S I G N A L L I A N C E . C O M

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YOTHAKA E s t a b l i s h e d i n 1 9 8 9 , Yo t h a k a International Co., Ltd. pioneeredthe use of water hyacinths in the Thailand furnituremanufacturing industry and has produced a wide range ofdesigner furnishings catered to the middle-upper class lifestyle. Besides its extensive range of fine, handcrafted water hyacinth furniture, the company with manpower of 120 also creates hand-made home accessories such as table lamps, candle holders and basketry. Regularly restructuring its collections and constantly designing new models every year, Yothaka features a largecollection of in-house design furniture and accessories, providinglifestyle concepts with unique Asian characteristics mixed with modern design concepts making use of only the most eco-friendly materials. W W W. A R C HITONIC .C OM/F R / M I C R O S I T E / Y O T H A K A / 3 1 0 4 1 74 T

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‘Thaï-tie’ is a fusion of Thai and French culture. o-d-a offered Christianthe opportunity to discover Thai life and craft factories around Bangkok. Together they decided to work with ‘Yothaka’, a factory specialized in rattan. After a few meetings, they planned to design two pieces for a futureexhibition. The main idea for each piece was to introduce a contemporary vision using an old and classic technique by Thai craftsmen. In this “6-hand work”, o-d-a presented Christian with a Thai vibe, who himself gave a French influence to o-d-a’s work.

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LOVE SEAT 120 × 80 × 130 cm ARMCHAIR 70 × 60 × 120 cm

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UP-DOWN

CAMILLE KHORRAM

KHANITTHA NUALTARANEE

Camille Khorram, an independent designer since 2011, specializes in furniture, furnishings and objects for the home. She collaborates with clients such as Cinna and Roche Bobois and has been involved in the furnishing of many residencies in France and abroad, collaborating alongside craftsmen and exploring her own practice through materials and their knowhow. She sees design as a fine balance between functionality, rationality and sensitivity. Not only does she challenge what exists through the prism of new lifestyles, she also questions the materials: how they are used and shaped in order to push expectations. She stresses the need for a kind of softness, a poetry in the object and seeks to propose solutions for objects that are not only functional, but also pleasant to handle, look at and even display. Last but not least, she works to create objects that are better to live with, whether now or in the future.

(Bangkok, Thailand, 1983) is a textile artist and designer specialized in surface and woven design. During her Bachelor studies, she trained as an industrial designer but developed a strong interest in textile art and craftsmanship. She decided to pursue a Master of Arts in textile art and design at Aalto University, School of Arts, Design and Architecture in Helsinki, Finland, in order to improve her creative handcrafting skills, conceptual thinking, design process and explore all kinds of textile-centric experiences. For each of her works, Khanittha develops her own style by taking a sophisticated technique, varied materials and aesthetics of traditional textiles and reinterpreting them in a contemporary context.

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Currently, she is a senior textile designer on the Doitung Development Project; a Royal Initiative Project of Her Royal Highness the Princess Mother, of the Mae Fah Luang Foundation and has also set up a textile design studio ‘Kaniit.Textile’ for creative and experimental projects. I G . C O M / K A N I I T .T E X T I L E /

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The ‘Up-Down’ work was inspired by the idea of contrast in Bangkok that Camille perceived while we were traveling around the city. As a product designer, Camille created the continuous shape of an Up-Down shelf and I, as a textile designer, designed the weaving pattern, material and color.

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‘UP-DOWN’ SHELF 55 × 25 × 18 cm

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SHADES / COFFEE TABLE

JEAN-BAPTISTE RICATTE thas been working as a freelance designer since graduating from the Decorative Arts School in Strasbourg specializing in furniture and interior design. Based in Lille, he now works with clients such as Cinna and Roche Bobois but is also developing local expertise to meet the needs of industrial and cultural clients. His work also includes research into materials, which he questions and experiments during collaborations with a network of manufacturing, craft or industrial partners. The work carried out during his recent residencies in France and abroad, Wroclaw in Poland, and more recently in Bangkok, Thailand, has steered him to a more know-how-oriented approach. Jean-Baptiste Ricatte also attaches particular importance to integrating an environmental process into his projects with a view to proposing fair and low-impact objects.

JIRAWAT JANSAWADMETHAKUL is an industrial product designer committed to developing leather design skills by combining a special focus on materials through leather craftsmanship techniques with other various techniques to achieve a contemporary work with its own unique value. F B . C O M /J I R A W A T L E A T H E R G O O D S /

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SHADES / COFFEE TABLE COFFEE TABLE 80 × 80 × 50 cm.

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WORKSHOP IN CHIANGMAI DECEMBER 2017

2 materials for knowledge sharing between France and Thailand Lauriane Beaunier, Alexandre Dubreuil, Patcharada Inplang, Sarngsan Na Soontorn, Teerapoj Teeropas and AurĂŠlien Veyrat worked together in December 2017. Each designer chose a skill based on their affinities. After visiting 2 production sites proposed and organized by TCDC Chiang Mai; they chose Gerard collection and Prempracha. The designers devoted the first week to understanding local know-how, the production method, sketches and research. The last week was dedicated to making quick and effective choices

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focusing on 2 to 3 specific projects. All the projects were compiled in a large document accessible to the producing companies: dimensioned plans, 3D images, inspirations, steps, illustrations and sketches. Each designer took on a pitch exercise presenting their project with the documents they produced. The designers, TCDC team and companies involved in the project attended the presentation session. This exercise created a genuine team building spirit generating commitment to the global project by the designers. It was also an important project feasibility validation step for the companies..

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GERARD COLLECTION Gerard Collection specializes in bamboo furniture and home decor. We are happy to take on your bamboo projects and take care of the ‘Design + Detail + Build’. Since 1995, we have acquired more than 20 years of experience inbamboo furniture, working with architects,interior designers, furniture designers, carpenters, craftsmen, bamboo lovers,and you. All the raw materials a re f ro m o u r p la nte d b a m b o o, th e localspecies from the upper northern region ofThailand. Gerard Collection Co. is locatedin Chiang Mai, Thailand. The company is a member of the American Bamboo Society. The Gerard Collection is more than just a line of bamboo furniture, it is the product of an artist with immense workmanship capabilities. W W W .T H A I B A M B O O . C O M

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PREMPRACHA Established in 1986, Prempracha works with talented localartisans and dedicated staff wi th a spac ious fac tor y anda showroom in Chiang Mai featuring mold making and hand forming. Prempracha also develops glazing technologies as we l l as ha n d c a r v i n g a n d ha n d painting studios. The Premprachateam is continuously introducing new concepts and techniques and aims to convey the current fashion and home decor trends into their ever-expanding stoneware range. With over 1000 unique designs including tableware, vases, wall art, decorativeitems and garden accessories, Prempracha has becomea benchmark in Thailand and abroad for fine stonewareceramic. W W W.PR E MPR ACHA .COM

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LAURIANE BEAUNIER For 10 years, Lauriane Beaunier developed her expertise as a material color designer in the automotive textile industry and then in sports after graduating from EnsAD. She chose to join the management of the textile and materials department in 2013 and to work as a freelancer. She founded the Excla studio in 2017 and developed a variety of skills as the projectsprogressed. Her proposals, whether applied or experimental, are based on color, matter and graphics and these three poles are the pillars of her approach, creating a game between 2D and 3D, space and image. She addresses problems for French and international clients in industry, housing, accessories,tableware... and also explores these fields for more forward-looking, tangible and personal projects, under her Addenda label. W W W.E XCLA .FR

DISC, CEILING LAMPS AT PREMPRACHA FACTORY 26.5 × 26.5 × 7 cm – 3 pieces 20.5 × 20.5 × 7 cm –3 pieces

When visiting the Prempracha company, Laurianediscovered the company’s many skills and wasparticularly seduced by the impression work on textile elements. She wanted to divert this technique by using plastic materials and symbols of Thai pop culture. The experience naturally led each participating designer to sharing and exchanging their creative practices and the Prempracha team was very open to and curious about the emerging project. The focus on the tactile, visual, colored aspect, globally a search for a surface, gave rise to interesting perspectives for the company usually working on sensitive and sophisticated surfaces. After thisexperimentation phase, Lauriane looked for a lessdeveloped use of ceramics at Prempracha, whilekeeping within a familiar, everyday field of the company. She designed a series of suspensions, which was well received by the company. Several prototyping phases were necessary and the subsequent work took place after the two-week workshop. The light responds to the surface and colors, echoing the luxuriant, melting pot of the Thai markets and living spaces.

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ALEXANDRE DUBREUIL After several years working in internationally-renowned design agencies, Alexandre Dubreuil founded his own design studio in 2012. He works on a large range of projects, from industrial design to limited edition pieces, artistic direction to complete space design project monitoring. These collaborative and diverse projects lead him to see design in a global perspective. He focuses on simplifying the interactions between humans and spaces or objects. The object speaks for itself, through an intuitive use and an obvious form conducive to the quest of the essential. His projects are rooted in a responsible approach, deeply concerned by the reliability and sustainability of his creations W W W . A L E X A N DR E -DU B R E U IL .C O M

VICE-VERSA VASE AND IN BETWEEN STOOL AT PREMPRACHA FACTORY 1 VASE 19 × 19 × 45 cm 2 STOOL 40 × 40 × 42 cm

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PATCHARADA INPLANG is an architect and maker based in Chiang Mai Thailand interested in craft methods, local materials and the work process of all areas of design. She is the co-founder of Dibdee Binder - Hand binding and paperwork studio in Chiang Mai. Her work focuses on design-relevant programs, architecture techniques and spatial technology related to specific contexts, construction methods, local materials and wisdom. Her team is composed of local makers working at different scales of the design field and includes architects, designers and local craftsmen. W W W.S HE R MA K E R .COM

SELVAGE VASES AT PREMPRACHA FACTORY 1 VASE 9 × 9 × 40 cm – 4 pieces 2 VASE 14 × 14 × 20 cm – 4 pieces 3 VASE 9 × 9 × 40 cm – 4 pieces 4 VASE 14 × 14 × 20 cm – 4 pieces 5 VASE

Patc ha ra da e n j o y e d us i n g architectural shapes andelements to develop cast ceramic techniques. Thanks to this workshop she has understood the work of ceramics and can now use it to design her architectural project with new potentials. 1

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SARNGSAN NA SOONTORN is an explorer who understands the strength of cross-cultural creativit y. His experience and vision drive local and internationalgoals in a virtuous circle. He was born into and grew up in a crafts tradingfamily and after studying architecture at Chiang MaiUniversity, he went on to do industrial design at ENSCI - Les Ateliers, Paris. Having gained experience in renowned design studios, Sarngsan Na Soontorn founded his own studio in 2012 and has been building bridges between France and Thailand through different projects ever since.  From design to artistic direction and creativeconsultancy, objects to exhibitions and architecture, orcommercial to societal issues, Sarngsan Na Soontorn works on projects of different scales and natures, through which he always searches for a balanced result. In parallel, since 2012, he has taught at ENSCI - Les Ateliers, conducted workshops in Paris and set up workshops taking students to Thailand. W W W.MOK K A MP OR .COM

RABBIT PLATES AND BOWLS AT PREMPRACHA 1

PLATES SET 24 × 24 × 7.5 cm 16 × 16 × 6 cm 8 × 8 × 4 cm BOWLS SET 29 × 29 × 2.5 cm 25 × 25 × 2.5 cm 21 × 21 × 2.5 cm 16.5 × 20.5 × 3 cm 12.5 × 20.5 × 3 cm 8.5 × 20.5 × 3 cm

DRAWN BENCHES AND STOOL, SEQUENCE SHELVES AT GERARD COLLECTION

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2 SHELF 160 × 40 × 180 cm 3 SHELF 160 × 40 × 200 4 SHELF 82 × 40 × 200 5 BENCH 240 × 30 × 40 cm 6 BENCH 120 × 30 × 40 cm 7 STOOL 30 × 30 × 40 cm 8 BENCH 120 × 90 × 40 cm 9 BENCH 120 × 30 × 40 cm 10 BENCH 160 × 73 × 40 cm 11 BENCH 200 × 73 × 40 cm

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AURÉLIEN VEYRAT Versatile and open, Aurélien Veyrat’s technical and artistic training has led him since 2006 to develop various projects in the fields of design (objects, furniture, spaces) and art (design and production of artwork - artistic installations, sculptures with contemporary artists, museums and galleries). W W W. A AV R A .COM

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SIMPLE BAMBOO SHELVES AND TABLES AT GERARD COLLECTION 1 DINING TABLE 210 × 90 × 75 cm 2 DESK 100 × 100 × 40 cm

3 SHELF 42 × 42 × 180 cm 4 LOW TABLE 100 × 100 × 40 cm

His approach: giving meaning to projects, analyzing artisanal and technological production processes and creating with freedom while respecting constraints.

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TEERAPOJ TEEROPAS is an industrial designer with an interest in craftwork who has dtinner of the furniture design category at the 2017 Designer of the Year Awards. W W W .T E E R A P O J . C O M

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SAFARI SAFARI SIDE TABLES AT GERARD COLLECTION

VASES SET 16 × 8 × 25.5 cm 16 × 8 × 18.5 cm 13 × 7 × 17 cm

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42 × 42 × 45 cm SIDE TABLE 50 × 50 × 35 cm – 3 pieces

The fascinating thing for him in this workshop was the chance to experience three different parties from France, Chiang Mai and Bangkok looking at the same craft, how each individual reflected on it and executed it. This experience helped him to develop his vision and he is now confident that he wants to continue working with craftsmen.

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INDONESIA

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IN S T IT U T F R A NÇ A IS

ABDRAMANE KAMATE C U LT U R A L AT T A C H É IF IN D O N E S IA

Design represents an important economic weight in Indonesia with an estimated turnover of more than 28 billion euros and nearly 3,360,000 companies listed in the sector. This economic performance can be explained by the fact that the archipelago has a long tradition and a rich diversity of know-how embodied in the production of textiles, furniture and handicrafts. The Indonesian authorities, led by President Joko Widodo, himself a former furniture entrepreneur, quickly understood the economic potential of the sector by pushing for its national structuring but also by encouraging various external partnerships likely to enrich the know-how and offer new outlets for local production. It was therefore quite natural for the D17/20-- Design in Southeast Asia project spearheaded by the French Embassies in Thailand, Vietnam and Indonesia to be met with an enthusiastic welcome in the archipelago among craftsmen, professional groups and promotional events. Essentially implemented in Bandung, the first city in Southeast Asia to have obtained the “Unesco Design City” label in 2015, the D17/20-- project enabled three French designers to work together over a long period of time with the remarkable partnership of HIMKI (Indonesian association of companies in the furniture and craft industry), ADPII (Indonesian association of industrial product designers) and the support of the Cité du Design de Saint Etienne. The French and Indonesian designers worked during their residency in Indonesian galleries and production sites but also presented their creations in international fairs such as IFEX Jakarta (International Furniture Fair Export) in March 2019. Our designers have also made use of their residency to hold con-

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ferences and workshops in universities and cultural spaces, making D17/20-- a global project supporting the Indonesian production and training eco-system. Thanks to this project, links are now established between our artists and their Indonesian counterparts. They are also made between the Institut franรงais and local partners in a sector that is booming in both our countries. We would like to warmly thank all those involved for their creative and logistical support! It is moreover on the basis of the success of the D17/20-- project and the economic potential of the activity that design was recently designated by France as one of the three priority sectors of the cultural and creative industries for its initiatives in Indonesia. The spin-offs of this project will be lasting in Indonesia because beyond its artistic and economic aspect, D17/20- was also a human project that created strong links between geographically distant creators and institutions that are not planning to stop there. Thus, in the coming months, other cross-residencies are in the pipeline. Better still, the Bandung Design Week, an important event for the promotion of the sector in Indonesia, will bolster further this quest for closer ties with the Paris Design Week, which it hopes to draw inspiration from for its international development. The Design adventure has only just begun! There will be no shortage of projects in the future, whether carried by the Institut franรงais in Indonesia or directly by the designers who will have got to know each other and worked together and all thanks to D17/20--.

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WORKSHOP IN YOGYAKARTA NOVEMBER 2018

Indonesia is rich in raw materials with trade open to the world. Discovering new species, materials, techniques, manufacturing or printing for example has enriched a vocabulary that, when crossed with my western eyes, founded the basis of the Design Asean workshop.

The workshop consisted in exchanging our experiences, identifying the socio-economic context within which the project would be introduced, collaborating in the development of the product and fine tuning through manipulation, tests and models to end up with a prototype.�

The objective was therefore to review the situation, briefly examine the uses and from the very beginning, intensify exchanges with the craftsmen to seize their potential and jointly imagine a project with industrial reach.

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FERN BATHROOM FURNITURE

PASCALINE DE GLO DE BESSES graduated from the Saint Etienne School of Art and Design in 2002. Since then, she has been working as a freelance product designer, graphic designer and space planner. She works with companies, communities and individuals. At the same time, she has headed research projects revolving around landscape in particular, which have given rise to artistic residencies, recently in Japan and Java/Indonesia, self-constructions as well as installations, namely urban. This cross-disciplinary approach to the design and visual arts professions constantly enriches her vision and perfects her tools and working methods, thus giving new life to each new project. As a result, she is able to work on identities in a global way and collaborate with graphic designers, architects, landscape designers, sociologists, etc. Photo courtesy © Charlotte Pierot W W W.C ONS T R UC T IF S .C OM

The experience of this workshop in the Kayumanis Company in Yogjakarta, Indonesia, was rewarding in learning about another production model. When mass production in Europe became industrialized and largely automated, Kayumanis had about 115 workers in the workshops next to the design office, which itself had a dozen people. The teak wood is worked mainly by hand and with the use of remotecontrolled portable tools. The assemblies follow the rules of joinery, mortise and tenon joints, and are glued to meet the constraints of humidity since the furniture is exported to Europe mainly at the rate of one container per month. The major asset of this exchange for the company was to analyze the current trend in bathroom furniture in which they specialize. While teak wood is very solid, the bathroom trend in Europe is for lightness. Materials such as terrazzo used for basins are also highly appreciated and the “tropical” mood persists in decoration. I therefore chose to work teak in the form of strips, similar to the construction of boat decks. This results in a lighter effect than working with wood in its mass.

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KAYU MANIS was established in 2001 in Yogyakarta, Indonesia; its first export market was the cities in Europe, mainly in France. In the early years, Kayu Manis exported all kinds of indoor furniture such as cabinets, tables, beds and other items of furniture for living spaces. Since 2007, Kayu Manis decided to shift the production more towards bathroom furniture, given the significant growth in demand for these particular items. When the offer from the French government to help Kayu Manis by way of design improvement training came, the timing could not have been better. W W W.K AY UM A NIS .C OM

With Kayu Manis’ regular European customer base (France, Italy, Netherlands,Germany, Belgium), Pascaline’s insight was valuable in helping the Kayu Manis teamproduce a new line of bathroom furniture corresponding to Western tastes. She brought new and fresh insight to our design team. Backed by extensive experiences gained during her travels through many countries around the world, she shared herknowledge with Kayu Manis and the Design Department in particular. Time was too short, as her enthusiasm to help and participate in the making of new and betterproducts was very inspiring. Kayu Manis would like to continue this collaboration withPascaline De Glo De Besses in the future, it would be a great opportunity on both sides. A LE X K UR NIAWA N K AY U M A N IS ’ O W N E R

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FERN BATHROOM FURNITURE 1 COLUMN 40 × 40 × 140 cm WASTAFEL 40 × 40 × 40 cm 2 MIRROR 105 × 50 × 3 cm 3 CABINET 100 × 42 × 42 cm 1

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WORKSHOP IN BANDUNG NOVEMBER 2018

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TAHU GEJROT / INTENSITAS, TABLE LAMPS

PIERRICK ROMEUF

IMAN SETYADI KOMARDI

HANDOKO HADIWIJOYO

is trained as a furniture designer and artistic director. His career is marked by professional experience in Finland (Studio Suppanen) and Japan (Nendo). Since 2012, he has been developing his freelance design business working with companies in his area (Auvergne and Rhône-Alpes). He received the Micro Architecture E xcellence Award with “Chestnut Design Wood” and produces micro-series of wooden objects with local craftsmen. He has been working for the past two years on developing brands and creating wooden and steel furniture collections. In 2019 he developed a new range of sheet metal and wooden furniture for a young French brand due to be launched in 2020.

studied at the Institut Teknologi Bandung (ITB) majoring in Product Design at the Arts & Design Faculty, on Furniture and Ergonomics. Iman has 7 years’ experience working in the furniture industry focusing on furniture and ergonomics. Iman’s involvement is this project was more related to the technical engineering. He aligned Pierrick’s design with the manufacturing technology and helped create a pro duc t capable o f b e ing perfectly reproducible. Iman therefore recommended simple batik patterns reminiscent of the Indonesian heritage in a minimalist design.

graduated from the Sepuluh Nopember Institute of Technology of Surabaya in Architecture. At Kriya Nusantara, he is the Research and Development Manager. His contribution to the workshop was to lead the in-house designers and the production team that made the protot ype with Pierrick. With his 19 years of experience in product design, he was proactive in the details of the lamps drawn by Pierrick. LINK E DIN .C OM/IN/ K E R TA DE S IG N S /

ID.LINK E DIN .C OM/IN/ IM A N -S E T YA D I -K O M A R D I -8 79 0 9 4 37

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KRIYA NUSANTARA was founded in 1995 by Abdul Sobur. Anxious to preser ve Indonesian know-how through contemporar y pieces, its brand highlights craft and uses a variety of ornamental forms as a force of expression. Modern technology and a high level of expertise contribute to producing high-quality products. The craft techniques are enriched and s o m e t i m e s p e r f e c te d b y te c h n i c a l innovations, but always remain rooted in the strength of a refined cultural heritage. Abdul Sobur is an active member of the Indonesian Furniture and Craft Industry Association (HIMKI), currently the Chairman of the Indonesian Islamic Art Foundation (INISAF) and member of the National Economic and Industrial Committee (KEIN) W W W . K R I YA N U S A N TA R A . C O M

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Kriya Nusantara invited Pierrick to work with the designers Iman and Handoko to prototype one or two lamp models in order to broaden sales possibilities in the European market. The objective was tocontrast Pierrick’s design vision with local cultural traditions such as Batik, shadow dolls or specific formal languages. Two different concepts germinated from their exchanges: The first was Tahu Gojerot (Spicy Tofu), inspired by the street vendors in Bandung who carry their products on their shoulders with furnituredesigned for transport and traffic. It is a table lamp made of wood and copper. At first the motif is not visible questioning its function, it has a handle and is made from a material not widely used in domestic design. When the light is turned on, the pattern appears resonating the ornate products associated with Kriya Nusantara. The handle is also decorated with copper, catching the user’s eye, prompting him/her to question its function. The form is simple but includes many assembly and twisting details. The second is Intensitas and plays with rays of light in homage to the shadow puppet theatre. It is also made of painted wood and copper. When the handle rotates, subtle nuances in the intensity of the light are visible. This finish is very difficult to achieve and requires precision in design and execution, highlighting the work of this Indonesian company. The pattern used here is called Mega mendung, it represents a graphic cloudcharacteristic of the West Java region. The playful aspect of Intensitas makes it particularly suitable for a child’s room or to decorate a living room.The design of these two products is a tribute tothe DNA of Indonesian styling blended with Pierrick’s forms and aesthetics.

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2 TAHU GEJROT AND INTENSITAS, TABLE LAMPS 1 LAMP 2 LAMP

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WORKSHOP IN YOGYAKARTA NOVEMBER 2017

In France, the Cité du Design Saint-Etienne selected the designer Amaury Poudray for this first workshop in Indonesia. ITB selected one of its students, Raditya Mahardika Siswosuwarno, to follow the process and ADPII (Designers-Product association) selected Wisnu Purbandaru to work with Poudray. They worked together for 2 weeks in Kasongan with Andre Suryaman. Exploring first the neighboring craft companies, the rich heritage and the city of Yogyakarta, they also discovered Andre’s work . Himself an artist , he has been

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developing products from recycled materials, mainly old bikes, for some years now. This process appealed to the designer’s team and kick started the P.I.T. project (recycled alphabet project). The team explored the possibilities offered by the simple shape of a bike frame and created two different objects: a modular shelf system (P.I.T shelf ) and a small-scale module that can be arranged into any shape to create a sculpture or a room divider (P.I.T molecule).

D17/20


PIT SHELF

AMAURY POUDRAY

WISNU PURBANDARA

Amaury Poudray is a furniture and product designer nourished by travels and discoveries.

Wisanu graduated from the Bandung Institute of Technology in product design. He is a professional product designer based in Indonesia, working on product development in the craft industry.

Networks values local know-how, in France and internationally, through design working with companies, institutions and leaders who contribute to building a more and sustainable society. We conceive, implement and communicate creative projects. Our goal is to design clear and innovative concepts in order to enhance specific know-how and historical companies. Amaury Poudray graduated in 2009 from the Ecole Supérieure d’Art et de Design of St Etienne. He also studied in the United States at the Rhode Island School of Design. In April 2011, he joined the design team of FABRICA, the communication research center of Benetton Group in Italy, where he worked for one year.

Natural House uses recycled bicycles as their signature material. With Amaury, they focused on how this product could be easily developed by this company. As Natural House is an expor t-oriented craft company, they decided to design a product with easy packaging. They made a modular system that could be adapted to many different kinds of products. By collaborating with the French designer, Wisnu gained insight, especially in terms of culture. IS S UU.C OM/W IS NUP UR B A NDA R U

W W W . A M A U R Y P O U D R A Y. C O M

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NATURAL HOUSE HOME DECO Andre Sur yaman studied at ITB (Bandung Institute of Technology)with a specialization in Fine Arts and Economy and founded Natural House in 1996.  The company initially produced recycled paper (art paper) sold in sheet form. It then expanded to design functionaland finished products: candleholders, table lamps, mirrors and furniture, etc. Today Natural House has 16 employees and manufactures handicrafts in terracotta, wood, bamboo, fiber, rattan, sea rush, g l a s s , a l u m i n u m , c o p p e r, e tc . T h e main objective of Natural House is to develop the potential of local industries, particularly in the Kasongan region. The factory is also involved in an important r e c y c l i n g a c t i v i t y. T h e m a t e r i a l i s combined with others and carefully and neatly decorated with colors and textures. By transforming the product, each piece becomes a new design piece. N AT U R A L H O U S E IN DO N E S IA .C O M

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PIT SHELF 150 × 226 × 28 cm

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VIETNAM

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NS T IT UT F R A NÇA IS , HA NOI

THIERRY VERGON D IR E C T O R

Cultural Attaché The Vietnamese capital Hanoï became in November 2019 a new member of the UNESCO Creative Cities Network in the field of design, joining 7 other cities such as Bangkok in Thailand or Cebu in the Philippines. Hanoi’s developed design industry was a main factor in its admission to the network, as well as multiple opportunities for creating designs from natural materials and conditions, and the presence of design groups with frequent activities. Among the most interesting companies involved in design, the French Institute in Vietnam chose to partner with Hanoia (OpenAsia Group) not only for their French connections but also for their innovative spirit and the enthusiasm to take part in cultural exchange. The very high quality of their production, which combines traditional craftsmanship and contemporary design creation, allowed a remarkable dialogue between three French designers and the teams of Hanoia (R&D, workshops, etc.), resulting in the creation of several prototypes ready to be exhibited in Bangkok during the Spring 2020.

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HA NOIA

CHRISTIAN DE RUTY COFOUNDER

Craftsmanship is a subject of special attention in Southeast Asia, especially in Vietnam, country rich in handicraft tradition. On behalf of Hanoia, a renowned luxury craft house with substantial contributions to the development ofVietnamese lacquerware, I would like to express my gratitude to the Embassiesof France in Vietnam and in Thailand and to Institut Français du Vietnam (IFV) for giving us this chance to be part of Exhibition D17/20 –Design in Southeast Asia and for supporting us to realize this project.

Hanoia’s workshop was set up in the late 90’s in the historic lacquer village located near Saigon, where we discovered the know-how of artisans with colors, effects, matters, patterns which were reminiscences of past emotions. One day, the burst of ideas, images and shapes was such that we felt the need to create a contemporary lacquer brand that would reflect not only the heritage of ancient know-how but also the latest inspirations of contemporary design. Together with a team of highly qualified craftsmen from the Vietnamese lacquer capital, we decided to create and craft beautiful objects for the world. Since its establishment, Hanoia has focused on outstanding and constantly renewed creativity as a key to bring Vietnamese lacquer to the world. We invited foreign designers from all corners of the world to contribute their experiences and sensitivity that translated into poetic, contemporary and distinctive collections. Through art, we wanted to tell stories of Vietnam in the eyes of foreigners. We highly appreciated the cooperation with young talented designers from France, hoping that their design approach would bring us new ideas to develop our products and better promote Vietnamese lacquerware. During a short period of 15 days, 3 French designers and our team have completed a fabulous work to give birth to 16 exciting prototypes. This is the result of great efforts from all of both designers and craftsmen since lacquer has the unfortunate requirement of 12 weeks to produce a final prototype. Designers worked for a period of one month before thecraftsmen could finalize the sketches for the proposed designs. Followingapproval, craftsmen could work on the prototypes whilst resolving the manytechnical issues induced by the originality of the designs. We are confident this collaboration opens a promising future between the 3 French designers and Hanoia in preserving and developing Vietnamese traditional lacquerware. Craft can’t live without art and design. We rely on our designers to build a new expression for Hanoia in particular and Vietnamese lacquer in general. Once again, we would like to thank IFV and the Embassy of France for this fruitful collaboration and wish the exhibition a great success.

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WORKSHOP IN HANOI OCTOBER 2019

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HANOIA is the leading premium craft house in Vietnam, specialized in lacquer. Featuring a harmonious blend between West and East, contemporary design and cultural heritage, special effects and craftsmen devotion,Hanoia has revived the values of Vietnamese traditions in the world of today. Born in 2016, Hanoia has the chance to own two workshops in the historical lac quer v illage s in the Nor th and the South of Vietnam. Together with a team of talented designers, Hanoia has successfully preserved the traditional legacy left by their ancestors. W W W.HA NOIA .C OM

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MARIE-AURORE STIKER-MÉTRAL Born in Paris, on March 15th 1981, Marie-Aurore Stiker-Metral set up her workshop near the Duroc metro in the old shop where her grandmother used to sell furniture and kitchens made by her cabinetmaker grandfather, and subsequently kitchen utensils and toys after his death. It was in this special place of her childhood that she developed her taste for objects, materials and colors. She graduated from ENSCI-Les Ateliers in December 2007. She trained as an industrial designer after four years of graduate studies in philosophy, including one year at the University of Urbino in Italy. She works in various fields such as furniture, lighting, textiles, decoration, scenography and interior design. She collaborates with clients such as Ligne Roset, l’Atelier d’études, Oxyo, Toiles de Mayenne, Ateliers d’Aubusson and scenography and graphic design agencies such as Nathalie Crinière and C-Album as well as with institutions for instance the Ministry of Culture, the Museum of Decorative Arts and art centers. She obtained a scholarship, won the Audi Talents Awards, the Pierre Cardin Prize and the Visa for Osaka prize awarded by the city of Paris. In addition to her design business, Marie-Aurore shares her experience by teaching in different schools such as the Fine Arts in Rennes, the Camondo School, the ENSAD, etc. Portrait photo courtesy © Felipe Ribon W W W.M A S T IK E R M E T R A L .C OM

We visited the various workshops and learned about the different stages andthe multiple possibilities of this long and meticulous process. On the basis of the drawingsthat we had sent a few days prior to our arrival, we were able to interact with all of the Hanoia teams, from the collection managers to the artisans and engineers. Everyone was very willingto work on and develop our projects as much as possible. Thus backed by these teams,we managed to progress quickly and create the first prototype by the end of our 15-day stay.We also worked together (the 3 designers) to make the most relevant choices for our projects.The enthusiasm, understanding and quality work of everyone helped to makethis stay both very effective and very enjoyable.

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AURA & HANABI 1 LAMP 35 × 18 × 34 cm 2 MIRROR 92 × 11 × 58 cm

3 MIRROR 30 × 30 × 127.5 cm 4 MIRROR 18.5 × 18.5 × 33 cm

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GUILLAUME DELVIGNE studied at the School of Design Nantes Atlantique and the Politecnico di Milano. After graduating in 2002, he started working with prestigious designers such as George J. Sowden and Marc Newson, in between Milan and Paris, while developing personal projects. In 2011, he opened his own studio, inaugurated his first solo exhibition at the ToolsGalerie and won the Grand Prix de la Création de la Ville de Paris. Operating in fields as varied as furniture, objects, lighting and interior design, he works with manufacturers, publishers and craftsmen. Among his clients are leading French names such as Hermès, Givenchy, Habitat, Alinea and Tefal, foreign companies such as Fabbian, Frandsen and Karakter Copenhagen, as well as young publishers of the likes of La Chance, Hartô and ENOstudio. W W W . G U I L L A U M E D E LV I G N E . C O M

The invitation to be part of this adventure was a great opportunity for us.It enabled us to discover the lacquerware craft that Hanoia masters so well. We had carte blanche on the purely creative part, in order to see what we could offer without being influenced by their judgment. We initiated the project upstream, a few days before the trip. On the basis of our intention drawings, the Hanoia team made a first series of raw prototypes. As soon as we arrived,we discovered with surprise our pieces and the collaboration started, it was quite euphoric.Our two-week stay was extremely dense, with visits to workshops, work meetings, exchanges with craftsmen and technicians, work on plans, choices of colors, reflection on the effects of materials, etc. Every day the projects progressed and we had to make decisions and find solutions in reaction to the difficulties encountered. We were really touched by the involvement of the whole team in this project; we were always well surrounded by people who were very qualified in their fields. Hanoia’s level of requirements is very high and it’s almost a luxury for a designer to be able to work in such conditions. The workshop allowed us to have a fast-track view on all the steps of the lacquering process.

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ABRI / CALDERA / ENCLOS / SEPALE / FOLIE 1 2

ABRI – TRAY 20 × 20 × 8.5 cm CALDERA – TRAY 52 × 32 × 9 cm

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ENCLOS – TRAY 52 × 39 × 9 cm SAPALE – VASE 20 × 20 × 40 cm

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FOLIE – VASE 30.5 × 30.5 × 40 cm – VASE 20 × 20 × 40 cm

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PIERRE CHARRIÉ After studying at the Fine Arts in Nîmes, Pierre Charrié turned to design and obtained his diploma at the ENSCI-Les Ateliers in 2008. By collaborating with different agencies, he gained experience in product and furniture design. Today he works as a freelance designer. In 2014, with the VIA, he developed the Aérobie air quality detector lamp, which then became part of the CNAP collection. With the Surfaces Sonores project, he won the Agora Grant in 2013 and the Grand Prix de la Création de la ville de Paris in 2015. He was named ‘Talent à la Carte’ at Maison & Objet 2016, ‘Young designer of the year’ by Elle Décoration France in 2017 and received the Kaldewei Future Award by the German magazine A&W in 2019. He works with clients such as Ligne Roset, Habitat, Mustache, the MICA gallery and the Great Design Gallery. Portrait photo courtesy © Damien Arlettaz W W W.P IE R R E C HA R R IE .C OM

The workshop was an opportunity to discover a company (Hanoia)with unique manual and craft skills applied to mass production. All of their resourcesand skills were mobilized, in terms of staff and planning, to carry out the projectsduring the short duration of the workshop (two weeks). Being able to benefit from such production means with such high quality standards was a real chance. We were also able to proposethe projects freely. The goal was to design industrializable products and not just prototypes. The classic development process was accelerated to obtain a total of 15 projects technicallycompleted within the allocated time! This is a feat, especially since the implementation process ofthe lacquer is particularly long, the prototypes will hence be finalized after the end ofthe workshop. It was therefore very intense and pushed us to shake up our work habits in order to make choices quickly and refine our proposals. It was a very rewarding experience,because the production means made available to our projects were extremely efficient andthe enthusiasm of the teams was really gratifying. We proposed five projects each, developed ina collegial manner and shared between us and the Hanoia teams. This approach was very pleasant and particularly suited to this context where we shared many things on a daily basis.

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6 5 BRUSH 1 CLOCK 27 × 27 × 5 cm 2 WALL LIGHT 30 × 30 × 12.5 cm 3 SHELF 50 × 22.5 × 17.5 cm

4 SHELF 25 × 38 × 17.5 cm 5 LAMP 25 × 25 × 19 cm

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6 HOOK 8 × 8 × 4.5 cm 10 × 10 × 6 cm 12 × 12 × 7.5 cm

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CO-PRODUCTION AND PARTNERS

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INSTITUT FRANÇAIS Pierre Buhler, Chairman Erol Ok, Chief Executive Officer Fabrice Rozié, Director, Artistic Development and cooperation Dpt Aude Urcun-Brunel, Head of Engineering division Giusi Tinella, Project Manager Visual arts, design FRENCH EMBASSY IN THAILAND Jacques Lapouge, Ambassador Fabian Forni, Consellor for Cooperation and Culture Vanessa Silvy, Cultural attachée CEA TCDC BANGKOK Apisit Laistrooglai, Executive Director Montinee Yongvikul, Acting Director of Communication and Marketing and Acting Director of Business and Innovation Development Pichit Virankabutra, Acting Director of Creative City Development and Acting Director of Khon Kaen office Karin Kungwankitti, Senior Knowledge Management Officer CEA TCDC CHIANG MAI Inthaphan Buakeow, Acting Director of Corporate Development and Acting Director of Chiang Mai office Imhathai Kunjina, Senior Knowledge Management Officer

HIMKI BANDUNG (THE INDONESIAN FURNITURE AND CRAFT ASSOCIATION) Adhi Nugraha, Vice-President for Innovation and Design ADPII (DESIGNERS-PRODUCT ASSOCIATION) CITÉ DU DESIGN SAINT-ETIENNE Thierry Mandon, Director Isaabelle Vérilhac, Directrice International & Innovation Josyane Franc, Public and International Relations Manager INSTITUT FRANÇAIS HANOI Emmanuel Labrande, Director (2016–19) Thierry Vergon, Director (2019–…) Thuy Duong Thi, Performing and Visual Arts HANOIA Christian de Ruty, Co-Founder Chi Le Canh, Business Development Director, Openasia Group / Hanoia Vy Nguyen Thuy, Collection manager Alexandre Chanudet, designer

CHIANG MAI UNIVERSITY, FACULTY OF FINE ARTS, DESIGN DIVISION Sumanatsya Voharn professor INSTITUT FRANÇAIS, BANDUNG Mélanie Martini-Mareel, Director (2016–19) Aude-Emeline Loriot (2019 - …) Abdramane Kamaté, cultural attaché, Institut français in Indonesia, Jakarta

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CURATORING AND CONCEPT CURATORING AND CONCEPT Céline Savoye (2016–18), Manager and Art Director, Lille Design Sarngsan Na Soontorn, Professor at ENSCI and Designer Vanessa Silvy, cultural attachée, French Embassy in Thailand SCENOGRAPHY Sarngsan Na Soontorn Assisted by Witsarut Kwansa-Nga WEBSITE Pierre Hérubel LOGISTIC Mongkol WangKummun Annissa Rasydihartanti Nguyen Thuy Vy TRANSLATION Deirdre Epinat Julie Wang SPONSORS

CATALOGUE PUBLISHED BY French Embassy in Thailand DESIGN BY Krittin Teerawittayaart Setapa Prommolmard SPECIAL THANKS Mélanie Martini-Marel Karin Kungwankitti Janjira Kingkannak Jakthong Ubolsootvanich Thuy Duong Thi Chi Le Canh Giusi Tinella Céline Savoye Josyane Franc Mathieu Marchal Chamapan Rangaratna Sujira Panyawattana Pascale Fabre Sébastien Tayac Chantapitch Wiwatchaikamol Lisa Louveton Bundaree Raphephat (Bree)

ThaiBev Perrier DITP Thai Airways

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FACTORIES

LOGO FINAL SIGNATURE DEC 2016

HANOIA LOGO 1

Natural House LOGO FINAL SIGNATURE DEC 2016

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HANOIA LOGO 1


Profile for vanessa

D17/20-- Design in Southeast Asia  

43 designers from France, Thailand, Indonesia and Vietnam associated to 18 factories. Through 8 workshops organized between 2017 and 2019, t...

D17/20-- Design in Southeast Asia  

43 designers from France, Thailand, Indonesia and Vietnam associated to 18 factories. Through 8 workshops organized between 2017 and 2019, t...

Profile for savanibay
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