CAMILLE WALALA

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French-born, London-based pattern queen Camille Walala has created eye-catching street art, murals, homewares, fashion, accessories, and installations, all sporting her trademark vibrant digital prints. The textile design graduate collaborates with top global brands, from Converse to Nintendo, and is now the star of this month's London Design Festival 2017, designing key commission Villa Walala, a pop-up inflatable playscape guaranteed to brighten up your day!

BY SOPHIE DAVIES

What inspired your LDF17 project Villa Walala?
Villa Walala is about creating the unexpected. It's in an open square in Broadgate, a City area surrounded by big offices, where people meet up, have lunch and relax. I wanted to design a giant stress ball, something people could squeeze, that would take them by surprise. It's an inflatable, soft, flexible tutti-frutti space, with round shapes, and a very bright colour palette. There are also deckchairs on the grass in my style of pattern. When people take their usual route into work they're going to go, 'What the hell?' I want to create a reaction, to make people talk and smile.

What’s your design or style philosophy?
A lot of people call my style Tribal Pop. It’s bright, bold and happy! When I was younger I was influenced by the styles and objects that my parents brought into the family home. My dad, who is an architect, had quite an extension collection of Memphis pieces in his house, so for me the movement is interwoven with memories of my childhood. I was always surrounded by colours and beautiful pieces of design.

Which colours and patterns are you drawn to?
Much of my inspiration comes from growing up in the Eighties and the Memphis Movement. In 2008 I found a book about Memphis and was so excited turning the pages. This was design with an element of playfulness, and a sense of humour – I loved it. I use a lot of black and white with pastels, and block colours. I have also drawn my pattern inspiration from African tribes like the Ndebele, known for their geometric painted houses. I find them both full of joy.

ABOVE: Camille Walala with her graphic, patterned WALALA X PLAY project – proof stripes, and dots, never go out of fashion!
BELOW: Like a cool bouncy castle, the huge, inflatable 3D Villa Walala installation on Broadgate's Exchange Square is the hero commission for this week's London Design Festival, intended to be interactive and foster a sense of community

You started your studio in East London in 2009. What got you into design?
I came to London in my twenties to learn English and was working in restaurants. I like colour, putting colours together. I can't really draw so I did a printed textiles course at the University of Brighton. I still have a really childish drawing style, I can't even draw a flower!

How did you make the leap from textiles to wall art?
I still work on a small scale in terms of patterns, as you do with textiles, and then apply it to a bigger scale. I do a lot of sketching, and collage, and play around a bit. I don't like working on computers much. I prefer the playfulness of collage, and then finish pieces off on the computer when you need the measurements or precise colours.

ABOVE: Pattern, colour and reflective surfaces make for a merry maze at WALALA X PLAY, an interactive installation on until 24 September 2017 at NOW Gallery in Greenwich Peninsula

Tell us about current installation WALALA X PLAY at NOW Gallery on Greenwich Peninsula
When the gallery asked me to create an interactive installation I was petrified, as I'd only done textiles and wall art before. I love the fun fair and wanted to make people bring out their inner child – to get lost, like in a hall of mirrors – so we came up with a playful design. I simply wanted to give them a good time. I was worried that no one would come, but we had so many turn up we had to create ticketed time slots. Young and old people were telling me afterwards how happy it made them. I was so touched!

ABOVE: Walala x Better Bankside's 'Colourful Crossing' art work animated Southwark Street in South London for London Design Festival 2016; Creating pastel-pretty murals to brighten up North West London's Park Royal Centre for Mental Health with charity The Nightingale Project
BELOW: The iconic 2015 'Walala Dream Come True Building', on the corner of Great Eastern and Singer streets in Shoreditch, London, commissioned by TV post-production company Splice

Who are your design heroes?
Nathalie Du Pasquier [a founder member of Memphis, who now paints]. She doesn’t want to hear about the Memphis movement these days, as now she just wants to do something new. As an artist you have to please yourself first. I also love Sonia Delaunay, who emerged in the Twenties and Thirties, and was one of the first artists to do Art Deco and make it accessible to everyday life. Her colours are beautiful, and she designed costumes, ceramics, and textiles, making art you can enjoy in your home. I recently got the chance to see some of the earliest work by Op Artist Victor Vasarely, another hero, at Fondation Vasarely in Aix-en-Provence.

What’s currently exciting you in design or style?
The bigger the better! I want to do a Vivid Sydney light projection on the Sydney Opera HouseI don’t want to move away from my current style but I’m interested in some rounder shapes. I’d like to push my creativity in terms of pattern and colour – although I'm not going to start doing flowers!

Where do you find inspiration?
I try not to look at things any more. You can accumulate too much information in your head. I prefer to do my own thing. I like to play with shapes. I go travelling a lot, and love taking pictures. I went to Mexico recently, checking out Luis Barragan's buildings and taking pictures of pattern, and the colours were so beautiful.

Where’s next on your travel wish list?
Vancouver for the Interior Design Show festival. I’m doing a talk there on 30 September. And then New York to see the Ettore Sottsass retrospective at The Met Breuer. I’m also going to Brixton in London to work on a mural for an after-school care facility for charity. The place has very bright lights and awful colours on the walls. I’m going to put that right! 

Have your worked on other social design projects?
I recently did a mural in a psychiatric hospital with pastel colours. It was nice to be a part of it. Being in a mental health institute that looked drab would make you feel even worse. It's depressing, like no one gives you any value. It was for a charity getting artists to paint these spaces and the patients really liked it. A little colour and pattern can create a warm feeling and make a big difference. I’d like to do a council estate one day – the uglier the better!

What’s your social media of choice?
I definitely like Instagram. It’s my best agent and I get a lot of my work through it. It offers so much possibility to be seen and discovered. When you share colourful stuff I've found people follow you more.
camillewalala.com

Villa Walala is at Broadgate's Exchange Square, 100 Liverpool Street, London EC2 from 16 to 24 September 2017 (7am to 9pm), behind Liverpool Street Station. Find WALALA X PLAY at NOW Gallery, The Gateway Pavilions, Peninsula Square, Greenwich Peninsula, London SE10 until 24 September 2017; book free ticketed 15-minute timed entry sessions in advance (10am to 7pm weekdays, 11am to 4pm weekends).

Pictures: Charles Emerson, Jenny Lewis

LOUISE OLSEN – Dinosaur Designs

Louise Olsen is one half of influential Sydney duo Dinosaur Designs, alongside artist partner Stephen Ormandy. Pioneers of using resin to create gorgeous homewares and jewellery, the pair takes inspiration from nature, art and the city they call home...

BY SOPHIE DAVIES

What’s your design philosophy or style?
I like to create forms that nurture people’s senses. I love the juxtaposition between materials. I like to humanise modern materials such as resin and metals.

What do each of you bring to the design process?
Stephen and I work independently on our own designs for Dinosaur Designs. We both have our own signature, design sensibility and understanding of resins that we have worked with for over 30 years now. 

TOP: Louise Olsen and her work/life partner Stephen Ormandy, co-founders of Sydney homewares and jewellery brand Dinosaur Designs
ABOVE RIGHT : Debut hardback book 'The Art of Dinosaur Designs', published recently by Penguin Lantern, shares the studio's vision

Tell us about your new book The Art of Dinosaur Designs
Our book was a chance to open our studio doors and allow people to see behind the scenes of how Stephen and I design and create, and to discover some of the inspirations behind our pieces. We didn’t want to do a straightforward history, but we do cover some of the highlights of the past 30 years.

Where or how do you find inspiration?
I’m constantly inspired by nature. I love the way nature takes time to evolve and perfect. I find that when designing an object it takes time and there is a lovely flow that happens as one idea leads to another. 

ABOVE: Launched in October 2016, the duo's latest collection 'ColourBlock' features 'Totem' vases, pictured, alongside platters, plates and salt dishes in bold and soft primary hues. It also boasts sculptural jewellery, including bangles, earrings, rings, necklaces and neck cuffs, exploring colour blocking

What materials and colours are you currently drawn to?
At the moment I’m working on a collection inspired by sandstone, called 'Sand', launching in February 2017. I love all the variation of pigments in the sands from Central Australia to coastal beaches. Our recent 'ColourBlock' range played with solid hues, juxtaposing them, from cobalt blue and vivid coral red to refreshing accents of bright grass green, reminiscent of summer days.

How have art and nature influenced your practice?
We both have a passion for the world of art and nature as it offers never-ending change and beauty.

ABOVE: Sunrise at the iconic Sydney Opera House, one of Louise Olsen's favourite design destinations, by Danish architect Jørn Utzon

Is Sydney a big inspiration? And do you have any favourite local design hot spots?
We can’t help but be inspired by the ocean, the nature and the light of Sydney. For our favourite design spot it’s hard to go past the Sydney Opera House. We’re so lucky to have it – it’s an incredible icon. 

ABOVE: One of Olsen's influences is American designer and sculptor Isamu Noguchi. Pictured is his walnut wood and plate glass 'Coffee Table' (IN-50), 1944; The freeform 'Cloud Sofa and Ottoman', c 1948, in fabric, foam, wood and iron; the Sculpture Garden at The Noguchi Museum, Long Island City, New York; A Noguchi installation at the museum

Who are your design heroes? Or which era, aesthetic or interior has influenced you the most?
Giacometti, Picasso, Calder, Bertoia, Ray and Charles Eames and Noguchi are our design heroes; they were all artists who also designed furniture, ceramics, jewellery, sets and costumes for film and theatre. Every era has its moment of beauty. I tend to think more about the future. 

Where’s on your travel wish list and why?
I’d love to see more of India; it’s so unexpected and varied, and there’s so much ancient history that’s still alive that sits alongside contemporary life.

BELOW: Dinosaur Designs' curvy store in The Strand Melbourne, and a more linear look in their Sydney boutique in the historic Strand Arcade

You have shops in Sydney, Melbourne, Brisbane, New York and London – any plans for future launches?
We’re currently working on a new store in Crosby Street in New York, which will be open early in 2017.

What social media do you use most?
Instagram – because of its wonderful visual stories.
dinosaurdesigns.com.au

Pictures: Rachel Kara (portrait); Heleena Trahanas (book cover); Bec Parsons ('ColourBlock' collection, styled by Mark Vassallo, model Duckie Thot); Sydney Opera House; The Isamu Noguchi Foundation and Garden Museum, New York (Noguchi furniture); George Hirose (Sculpture Garden); Elizabeth Felicella (Noguchi installation view)

See our review section The Library for more on new book 'The Art of Dinosaur Designs'

MICHAEL ANASTASSIADES

Cypriot-born, London-based designer Michael Anastassiades is known for his pared back aesthetic and sculptural, one-of-a-kind lighting. A former Royal College of Art and Imperial College graduate, his perfectly poised designs use simple geometric shapes that complement both contemporary interiors and elegant homes

BY CLAIRE BINGHAM

How would you describe your work and philosophy?
‘Reduced’ is how I would sum it up. I don’t like to use the word 'minimal' because I feel that is misunderstood in terms of design. What I’m looking for is simplicity. I like to remove excess information from the visual language of the object to distill it to a point where actually, what I decide to give it, is the bare minimum. I believe this is really important in communicating the idea behind an object.

Tell us about your new products for Italian lighting firm Flos. 
The ideas were different for each one. In the case of 'Captain Flint', it was about trying to make a light that works in a doorway. On the one hand, it can be a reading light next to a sofa, but by simply changing the direction you have an uplighter for a more ambient atmosphere, or you can even direct the spot against a wall or specific object. On a practical level, it is a light that works in all sorts of scenarios. The inspiration plays on the idea of balance. The cone balances on its tip, on a stick, which is an extension of the collection of the 'IC' light.

ABOVE: Michael Anastassiades with his 'String Light Cone Head' pendant lights for Flos, inspired by electricity pylon power lines
ABOVE RIGHT AND BELOW: 'Captain Flint' can be rotated through 360 degrees. It comes in two finishes – brushed brass with a white Carrara marble base and anthracite with a black Marquinia marble base

What is your starting point?
In the case of my latest collection for Flos, I addressed the notion of balance. There is a sense of anxiety, almost. How is it possible? How can a cone balance on a stick? The practicalities of a design are subconscious. They are always there and you have to solve them at the end of the day.

What draws you to lighting?
Lighting for me is fascinating because it is special. It is not the same as any other product design. It has to work in two different scenarios: when it is on and when it is off, and this duality is very challenging. When it is off, you view it as an object and the space it occupies but suddenly, when the bulb is switched on, then it exists in an entirely different way. The way it interacts with other objects, in terms of casting shadows changes everything. Of course, light is a very beautiful and very poetic medium and that is what attracted me to it in the first place.

BELOW: Also for Flos, Anastassiades' spherical 'Extra' table lamp plays with balance, and comes in bronze, graphite and silver finishes; The 'Copycat' light is composed of two connecting spheres. The large illuminated globe is contrasted by a smaller one in polished aluminium, electroplated 24 carat gold, black nickel or copper

Which of your lighting designs are your favourites?
I live with very few objects in my home and so the things that I choose are carefully selected. In terms of my own designs, I like living with them but it tends to work on a rotational basis because I don’t have space for all of them. There are different reasons why I like something. Sometimes it is sentimental in the sense that it could be one of my early pieces of work. Sometimes it could be a reminder of an experience that I’ve had.

ABOVE: Another balancing act is pulled off by the 'IC' standard and table lamps in chrome and brushed brass

Beyond lighting, is there any new design territory you would like to tackle?
I am already working on furniture. I have a partnership with US brand Herman Miller that allows me to explore that world, however, lighting is really my passion, my preference. The collaboration with Flos is important. We started in 2011 and the first product launch was in 2013.

Who are your design heroes?
I have many. I wouldn’t say they were heroes. It’s too much load to bear, I think, to be a hero. For me, I like different designers in the same way that I like a lot of artists' work. I am more inspired by art than I am by design.

Photo by HIT1912/iStock / Getty Images

Where’s on your travel wish list?
Unfortunately, I only go to places where work takes me. There is very little time to explore other parts. Cyprus and Greece are special destinations when it comes to choosing places to rest but they don’t excite me like Tokyo, for example, which I find fascinating. I’ve been many times but I always like to go back.

What’s your social media of choice?
I am quite distant from it. I do use Facebook, and Instagram I find interesting, but all these things consume you in a way that I don’t really like. I like to get inspiration from observation instead. They are good tools to keep in touch with people but that is the best use I can think of for them.
michaelanastassiades.com  studiomichaelanastassiades.com

Pictures: Frank Huelsboemer, Giuseppe Brancato, Getty Images

JO SAMPSON

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In the late Seventies and early Eighties, no hipster would be seen without a leather studded wristband or belt. Brit designer Jo Sampson has hijacked street fashion's most recognisable item and infused it with high-end glamour to produce 'Rebel', a gorgeous collection of homewares and accessories for Irish crystal house Waterford

BY DEE IVA

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Tell us about your latest collection for Waterford...
The 'Rebel' collection was created with a more design-savvy customer in mind; someone interested in unique and stylish gifts. The mixed-media range is about an attitude and outlook and is meant to be aesthetically beautiful while being unexpected and fun.

It’s quite a varied mix of items, from barware to jewellery, chopsticks and travel kit – what brings its aesthetic together?
The range is brought together by the iconic punk stud; it’s a design detail which transcends time and generations. To apply such a hard angular feature to both metals and crystal (from smoke-grey to amber, purple and blush) was challenging, but it is the thread which holds everything together.

How would you describe your style as a designer?
I’m quite eclectic and design for the specific challenge rather than having a 'house style'. My ranges always have a narrative running through them, and I always design with an end user in mind. It just so happens that I would also buy everything that I create!

ABOVE RIGHT: Shot glass, £65 per pair; 'Gracie' studded cuff, £110
BELOW: Studded crystal and gold vases, glasses and bowls from the 'Rebel' collection. From left: Diamond Box, £55; Shot glass £65, per pair; Bud vase, £80; 8" vase, £110; Dog bowl, £110

TOP ROW FROM LEFT: Napkin rings, £60 for four; Bottle opener, £30; Flask, £60; USB stick, £60
BOTTOM ROW FROM LEFT: Salt and pepper set, £45; Compact mirror, £50; 'Gracie' studded cuff, £110; Tape measure, £35

Who or what is currently exciting you in design?
I love the Japanese design firm Nendo – they are all about surprise and delight and have a unique view of the world. I also look at stylists' work to see how they reinterpret a product and setting. I like the unexpected and things that make you look at life differently; antiques shops and markets are great because there is no core theme and I find that inspirational.

ABOVE: The Nendo 'Chocolatexture' lounge at January's Maison & Objet design show in Paris featured chocolate-coloured furniture set among rippling ombré tubes

What’s next for you?
I am about to conceive new products for all of my current ranges for Waterford. I love going back to a story and adding more products. Something always comes up in the development stage of a project that just doesn’t make the initial deadline and has to wait for the second phase. I am also looking at wine glasses for the 'Elysian' range and I can’t wait to develop them.

Who are your design heroes?
They vary over time. When I was starting out, I worked for Sir Terence Conran and Michele De Lucchi. Both were a huge influence on me and I saw their very different approaches to design and commerciality. I love people who are brave in the way Coco Chanel, Vivienne Westwood (left) and Alexander McQueen have been in the world of fashion. My work often means a lot of background research and historical referencing and one person whose story fascinated me was Josiah Wedgwood.

Is there anything you wish you had designed?
The Tetra Pak! For something so innocuous it has changed modern day life – it’s an everyday hero.

Where’s on your travel wish-list and why?
There are so many places and so little time! I need some escapism right now to recharge, so I would like to go somewhere very peaceful and warm with no internet.

If you weren’t a designer what might you have been?
I would have inevitably ended up in some sort of creative career. I loved photography and was always interested in it and graphic design, theatre and garden design. I can’t imagine not doing something where I use my imagination; I am a problem solver and love challenges so I don’t think I could be anything else!

What’s your social media of choice?
I love Instagram as it’s so visual – I need to do it more.
josampson.com  

The 'Rebel' collection for Waterford will be available from late April 2015
Visit 
waterford.com for local stockists


Nendo picture: Joakim Blockstrom  joakimblockstrom.com
Vivienne Westwood portrait: Juergen Teller  juergenteller.com

MAGNUS PETTERSEN

Norwegian furniture and lighting designer Magnus Pettersen has a flair for combining unexpected materials – think smooth concrete and delicate mouth-blown glass. DesignFizz catches up with him at his Hackney base.

BY CLAIRE BINGHAM

What’s in store for A/W14?
My 'Bell' lamp, which is an exclusive design for Heal’s. It’s the start of a great collaboration where the company is working with young designers in East London.

What do you love most about the design?
The combination of the smoky glass and dark walnut, and the mood it brings to your home. This design is all about reflected light. The lamp has a diffuser inside, so you don’t actually see the light source.

How do you like to use lighting in your home?
I use a lot of freestanding lights – a combination of floor, table and wall lamps that can be controlled individually to create atmospheric corners and moods.

Magnus Pettersen's 'Bell' lights for Heal's, which come in pendant and table forms

Magnus Pettersen's 'Bell' lights for Heal's, which come in pendant and table forms

What is your favourite design piece?
I have the 'Mayday' lamp by Konstantin Grcic for Flos, which was the first designer object I bought when I was a student. For me, it’s an absolute classic. It’s very industrial, but at the same time it works in a home which isn’t necessarily filled with industrial design.

How would you sum up your style?
My style is heavily influenced by raw, industrial pieces but with a softer approach. It’s also a bit stereotypically Scandinavian in its shapes and production methods, but less so in terms of the use of colours and materials.

Which designer has influenced you most?
I admire the work of German designer Konstantin Grcic, but in general I love basic geometry and a modernistic approach.

What’s the most memorable place you’ve visited?
Svalbard, a small island at the northern tip of Norway, with amazing nature. It’s basically just snow and ice and is one of the few places where you can get close to polar bears. 

What’s your dream interior?
We’re renovating our home at the moment, so hopefully that will be. In future, a rural retreat would be nice. I love London but the countryside is very appealing.

What social media do you use most?  
Instagram.

If you weren't a designer, what would you have been? 
I like the way design sits in the middle of art and business where you are creative but at the same time have to think about production budgets and whether people will actually buy the product. I can’t think of many other occupations where you get that mix to the same degree.  Maybe something to do with film?
magnuspettersen.com

TOP: The 'Bell' lamp exclusively for Heal’s, assembled in Pettersen’s East London studio using mouth-blown glass and walnut timber
TOP RIGHT: Konstantin Grcic's 'Mayday' lamp for Flos
ABOVE RIGHT: The 'Locker' bedside table by Magnus Pettersen Studio is made from blackened ash and perforated aluminium
BELOW: Pettersen’s 'Leimu' lamps for Finnish glass company Iittala, where amber glass shades sit on cool concrete bases

 
The sinuous 'Leimu' lamps for Iittala

The sinuous 'Leimu' lamps for Iittala