Issey Miyake, Breastplate, 1980
Issey Miyake, Breastplate, 1980
Hussein Chalayan, Bodice, 1995
Hussein Chalayan, Bodice, 1995
Alexander Mcqueen, Coiled Corset, 1999
Alexander Mcqueen, Coiled Corset, 1999
Dolce & Gabbana, Corset, 2007
Dolce & Gabbana, Corset, 2007
Garret Pugh, Black Leather Cage Jacket, 2012
Garret Pugh, Black Leather Cage Jacket, 2012
Úna Burke, Retreat jacket, 2010
Úna Burke, Retreat jacket, 2010
Iris van Herpen, Capriole, 2011
Iris van Herpen, Capriole, 2011

We are fans of extreme fashion. Here is our selection of some armour-inspired tops from the prominent established as well as young fashion designers.

Issey Miyake, Breastplate, 1980
Issey Miyake, Breastplate, 1980
Hussein Chalayan, Bodice, 1995
Hussein Chalayan, Bodice, 1995
Alexander Mcqueen, Coiled Corset, 1999
Alexander Mcqueen, Coiled Corset, 1999
Dolce & Gabbana, Corset, 2007
Dolce & Gabbana, Corset, 2007
Garret Pugh, Black Leather Cage Jacket, 2012
Garret Pugh, Black Leather Cage Jacket, 2012
Úna Burke, Retreat jacket, 2010
Úna Burke, Retreat jacket, 2010
Iris van Herpen, Capriole, 2011
Iris van Herpen, Capriole, 2011

We are fans of extreme fashion. Here is our selection of some armour-inspired tops from the prominent established as well as young fashion designers.

















Designed for the Window Gallery of Česká spořitelna, the 1910 – 1990 curatorial installation discovers, by means of spatial illustrations and objects, five crucial cities that all had a significant impact on the development of design and applied arts in certain periods of one century, ranging from monarchist Prague where the worldwide phenomenon of cubist design originated, interwar modernism in Paris, and the cultural heyday of California in the 1950s to radical Milan and punk London during the 1990s. All these world centers dictated taste and gave form to modern applied arts in different times.

1910 Prague
Painting angular forms became the Czech avant-garde doctrine as a new artistic style – French cubism – was warmly welcomed. However, an incoming generation of Czech architects and designers led by Josef Gočár, Václav Chochol, Emil Králíček, and Pavel Janák ventured farther than their colleagues from Western Europe, applying cubism to architecture and applied arts. Thus, a blind branch of the development was born. However, it was totally unprecedented, making Prague the only city where cubist principles were consistently applied to architecture and design.

1930 Paris
The social boom in Paris between the wars was linked with a new avant-garde view of the world, which brought about radical modernism, mediating the ideas of great architects, such as Le Corbusier, Robert Mallet-Stevens, and Eileen Gray. The upper classes and their enormous wealth provided lucrative work to such great decorators as Jean-Michel Frank and Serge Roche, as well as designers René Herbst, Jacques Le Chevalier, and many others whose designs still represent the highly radical application of visual functionalist language.

1950 Los Angeles
American post-war prosperity was best seen in sunny California, which became the center of architectural experiments, also due to its nice climate. The American dream materialized in the form of a modern glassed-in house open to the surrounding landscape, furnished with modernist furniture that provided space for everyday relaxation. Los Angeles residential architecture, represented by such giants as Richard Neutra, John Lautner, Raphael Soriano, A. Quincy Jones, and many others, was at its height during that time, complemented with lot-produced affordable designs by the Eames, Greta Magnusson Grossman, and Raymond Loewy, plus unique handicraft pieces by Dan Johnson, Zahara Schatz, and J. B. Blunk.

1970 Milan
Milan has always been an ideal breeding ground for design. The unreproducible style of Italian design was born there in the 1950s, culminating at the turn of the 1960s and 70s, when young experimenters responded to the fading force of modernist with a new pop-art revolution followed by postmodernism several years later. This radical wave was best summarized in 1972 at one of the most influential exhibitions in the history of design entitled the New Domestic Landscape at the MOMA in New York, which presented new qualities and meanings of contemporary design formulated by Ettore Sottsass, Superstudio, Achille Castiglioni, Vico Magistretti, Enzo Mari, Nanda Vigo, Gae Aulenti, and others.


1990 London
A wide range of young designers, who exclude themselves from mainstream production with their work and enrich contemporary design with action, performance, craftsmanship, and new conceptual approaches, started to concentrate in London as early as the 1980s. Israeli Ron Arad, Australian Marc Newson, Tom Dixon and minimalist Jasper Morrison became leading figures of the new "punk" movement in industrial and interior design. Raw industrial aesthetics were combined with the renaissance of the designer ready-made. Thus, the incoming generation of super-designers took charge of events on a global scale.

















Designed for the Window Gallery of Česká spořitelna, the 1910 – 1990 curatorial installation discovers, by means of spatial illustrations and objects, five crucial cities that all had a significant impact on the development of design and applied arts in certain periods of one century, ranging from monarchist Prague where the worldwide phenomenon of cubist design originated, interwar modernism in Paris, and the cultural heyday of California in the 1950s to radical Milan and punk London during the 1990s. All these world centers dictated taste and gave form to modern applied arts in different times.

1910 Prague
Painting angular forms became the Czech avant-garde doctrine as a new artistic style – French cubism – was warmly welcomed. However, an incoming generation of Czech architects and designers led by Josef Gočár, Václav Chochol, Emil Králíček, and Pavel Janák ventured farther than their colleagues from Western Europe, applying cubism to architecture and applied arts. Thus, a blind branch of the development was born. However, it was totally unprecedented, making Prague the only city where cubist principles were consistently applied to architecture and design.

1930 Paris
The social boom in Paris between the wars was linked with a new avant-garde view of the world, which brought about radical modernism, mediating the ideas of great architects, such as Le Corbusier, Robert Mallet-Stevens, and Eileen Gray. The upper classes and their enormous wealth provided lucrative work to such great decorators as Jean-Michel Frank and Serge Roche, as well as designers René Herbst, Jacques Le Chevalier, and many others whose designs still represent the highly radical application of visual functionalist language.

1950 Los Angeles
American post-war prosperity was best seen in sunny California, which became the center of architectural experiments, also due to its nice climate. The American dream materialized in the form of a modern glassed-in house open to the surrounding landscape, furnished with modernist furniture that provided space for everyday relaxation. Los Angeles residential architecture, represented by such giants as Richard Neutra, John Lautner, Raphael Soriano, A. Quincy Jones, and many others, was at its height during that time, complemented with lot-produced affordable designs by the Eames, Greta Magnusson Grossman, and Raymond Loewy, plus unique handicraft pieces by Dan Johnson, Zahara Schatz, and J. B. Blunk.

1970 Milan
Milan has always been an ideal breeding ground for design. The unreproducible style of Italian design was born there in the 1950s, culminating at the turn of the 1960s and 70s, when young experimenters responded to the fading force of modernist with a new pop-art revolution followed by postmodernism several years later. This radical wave was best summarized in 1972 at one of the most influential exhibitions in the history of design entitled the New Domestic Landscape at the MOMA in New York, which presented new qualities and meanings of contemporary design formulated by Ettore Sottsass, Superstudio, Achille Castiglioni, Vico Magistretti, Enzo Mari, Nanda Vigo, Gae Aulenti, and others.


1990 London
A wide range of young designers, who exclude themselves from mainstream production with their work and enrich contemporary design with action, performance, craftsmanship, and new conceptual approaches, started to concentrate in London as early as the 1980s. Israeli Ron Arad, Australian Marc Newson, Tom Dixon and minimalist Jasper Morrison became leading figures of the new "punk" movement in industrial and interior design. Raw industrial aesthetics were combined with the renaissance of the designer ready-made. Thus, the incoming generation of super-designers took charge of events on a global scale.

















Designed for the Window Gallery of Česká spořitelna, the 1910 – 1990 curatorial installation discovers, by means of spatial illustrations and objects, five crucial cities that all had a significant impact on the development of design and applied arts in certain periods of one century, ranging from monarchist Prague where the worldwide phenomenon of cubist design originated, interwar modernism in Paris, and the cultural heyday of California in the 1950s to radical Milan and punk London during the 1990s. All these world centers dictated taste and gave form to modern applied arts in different times.

1910 Prague
Painting angular forms became the Czech avant-garde doctrine as a new artistic style – French cubism – was warmly welcomed. However, an incoming generation of Czech architects and designers led by Josef Gočár, Václav Chochol, Emil Králíček, and Pavel Janák ventured farther than their colleagues from Western Europe, applying cubism to architecture and applied arts. Thus, a blind branch of the development was born. However, it was totally unprecedented, making Prague the only city where cubist principles were consistently applied to architecture and design.

1930 Paris
The social boom in Paris between the wars was linked with a new avant-garde view of the world, which brought about radical modernism, mediating the ideas of great architects, such as Le Corbusier, Robert Mallet-Stevens, and Eileen Gray. The upper classes and their enormous wealth provided lucrative work to such great decorators as Jean-Michel Frank and Serge Roche, as well as designers René Herbst, Jacques Le Chevalier, and many others whose designs still represent the highly radical application of visual functionalist language.

1950 Los Angeles
American post-war prosperity was best seen in sunny California, which became the center of architectural experiments, also due to its nice climate. The American dream materialized in the form of a modern glassed-in house open to the surrounding landscape, furnished with modernist furniture that provided space for everyday relaxation. Los Angeles residential architecture, represented by such giants as Richard Neutra, John Lautner, Raphael Soriano, A. Quincy Jones, and many others, was at its height during that time, complemented with lot-produced affordable designs by the Eames, Greta Magnusson Grossman, and Raymond Loewy, plus unique handicraft pieces by Dan Johnson, Zahara Schatz, and J. B. Blunk.

1970 Milan
Milan has always been an ideal breeding ground for design. The unreproducible style of Italian design was born there in the 1950s, culminating at the turn of the 1960s and 70s, when young experimenters responded to the fading force of modernist with a new pop-art revolution followed by postmodernism several years later. This radical wave was best summarized in 1972 at one of the most influential exhibitions in the history of design entitled the New Domestic Landscape at the MOMA in New York, which presented new qualities and meanings of contemporary design formulated by Ettore Sottsass, Superstudio, Achille Castiglioni, Vico Magistretti, Enzo Mari, Nanda Vigo, Gae Aulenti, and others.


1990 London
A wide range of young designers, who exclude themselves from mainstream production with their work and enrich contemporary design with action, performance, craftsmanship, and new conceptual approaches, started to concentrate in London as early as the 1980s. Israeli Ron Arad, Australian Marc Newson, Tom Dixon and minimalist Jasper Morrison became leading figures of the new "punk" movement in industrial and interior design. Raw industrial aesthetics were combined with the renaissance of the designer ready-made. Thus, the incoming generation of super-designers took charge of events on a global scale.

Gerrit Rietveld, Red Billet Armchair, 1924
Gerrit Rietveld, Red Billet Armchair, 1924
Gerrit Rietveld, Wire Glas Cabinet, 1938/39
Gerrit Rietveld, Wire Glas Cabinet, 1938/39
René Herbst, Low Chair “Sandows”, 1928/29
René Herbst, Low Chair “Sandows”, 1928/29
Jean Burkhalter, Sculptural Plant Stand, 1930
Jean Burkhalter, Sculptural Plant Stand, 1930
Alfred Roth, Aluminium Stacking Chair, Prototype 1933
Alfred Roth, Aluminium Stacking Chair, Prototype 1933
Marco Zanuso, “Bridge” Folding Armchair for Arflex, 1951
Marco Zanuso, “Bridge” Folding Armchair for Arflex, 1951
Ettore Sottsass, Low Table from the Casa Astrua-Grassotti, 1954
Ettore Sottsass, Low Table from the Casa Astrua-Grassotti, 1954

Just came back from Design Miami/Basel in Basel, where we have admired the stand of our friend Ulrich Fiedler, among others.

Full of rare modernist design from the pre-war as well as post-war period, Ulrich Fiedler gallery based in Berlin offers really true gems of the last century design including amazing glass cabinet by Gerrit Rietveld, early coffee table by Ettore Sottsass or great examples of 1930s French radical modernism. See above.

Gerrit Rietveld, Red Billet Armchair, 1924
Gerrit Rietveld, Red Billet Armchair, 1924
Gerrit Rietveld, Wire Glas Cabinet, 1938/39
Gerrit Rietveld, Wire Glas Cabinet, 1938/39
René Herbst, Low Chair “Sandows”, 1928/29
René Herbst, Low Chair “Sandows”, 1928/29
Jean Burkhalter, Sculptural Plant Stand, 1930
Jean Burkhalter, Sculptural Plant Stand, 1930
Alfred Roth, Aluminium Stacking Chair, Prototype 1933
Alfred Roth, Aluminium Stacking Chair, Prototype 1933
Marco Zanuso, “Bridge” Folding Armchair for Arflex, 1951
Marco Zanuso, “Bridge” Folding Armchair for Arflex, 1951
Ettore Sottsass, Low Table from the Casa Astrua-Grassotti, 1954
Ettore Sottsass, Low Table from the Casa Astrua-Grassotti, 1954

Just came back from Design Miami/Basel in Basel, where we have admired the stand of our friend Ulrich Fiedler, among others.

Full of rare modernist design from the pre-war as well as post-war period, Ulrich Fiedler gallery based in Berlin offers really true gems of the last century design including amazing glass cabinet by Gerrit Rietveld, early coffee table by Ettore Sottsass or great examples of 1930s French radical modernism. See above.

Gerrit Rietveld, Red Billet Armchair, 1924
Gerrit Rietveld, Red Billet Armchair, 1924
Gerrit Rietveld, Wire Glas Cabinet, 1938/39
Gerrit Rietveld, Wire Glas Cabinet, 1938/39
René Herbst, Low Chair “Sandows”, 1928/29
René Herbst, Low Chair “Sandows”, 1928/29
Jean Burkhalter, Sculptural Plant Stand, 1930
Jean Burkhalter, Sculptural Plant Stand, 1930
Alfred Roth, Aluminium Stacking Chair, Prototype 1933
Alfred Roth, Aluminium Stacking Chair, Prototype 1933
Marco Zanuso, “Bridge” Folding Armchair for Arflex, 1951
Marco Zanuso, “Bridge” Folding Armchair for Arflex, 1951
Ettore Sottsass, Low Table from the Casa Astrua-Grassotti, 1954
Ettore Sottsass, Low Table from the Casa Astrua-Grassotti, 1954

Just came back from Design Miami/Basel in Basel, where we have admired the stand of our friend Ulrich Fiedler, among others.

Full of rare modernist design from the pre-war as well as post-war period, Ulrich Fiedler gallery based in Berlin offers really true gems of the last century design including amazing glass cabinet by Gerrit Rietveld, early coffee table by Ettore Sottsass or great examples of 1930s French radical modernism. See above.



Our very own Klára Šumová presents her series of metal containers at Depot Basel right now.

Called Trays 1, 2, 3, the project was commissioned by Depot Basel for its CRAFT & DRAWING exhibition concept, which was opened earlier this week. Klára shows delicate craft: powder coated metal pieces with handles attached by brass and linden tree knots.

"We train ourselves to use objects of certain shapes/dimensions and we grow to immediately recognize their forms as belonging to very specific functions. In these works, the focus has been on the forms which are most basic and refined in their appearance. The objects each exercise the same principles and technologies, allowing only their proportions and our pre-conceived ideas to create their different purposes. The trays come alive on their own, by drawing on our past experiences with fruits, biscuits, cakes and flowers," Klára says about the project.

We love basic round forms inspired by modernist austerity which is enriched by poetic use and vision of Klára, who is really interested in story telling and inner feeling of things around us.

Photos by Veronika Raffajová

Bertille & Mathieu
Bertille & Mathieu
Fabien Cappello
Fabien Cappello
Fredrik Paulsen
Fredrik Paulsen
Giulio Parini
Giulio Parini
Josh Bitelli
Josh Bitelli
Klára Šumová
Klára Šumová
Liliana Ovalle + Colectivo 1050º
Liliana Ovalle + Colectivo 1050º
Lio de Bruin
Lio de Bruin
Lola Lely
Lola Lely
Lukas Wegwerth
Lukas Wegwerth
Maria Jeglinska
Maria Jeglinska
Sander Wassink
Sander Wassink
Ya Wen Chou
Ya Wen Chou
Package
Package

Yesterday, our friends from Depot Basel in Basel have opened their new exhibition project called CRAFT & DRAWING.

"CRAFT & DRAWING presents each designer with their ability to design, to work with pure craft like Liliana Ovalle or digital craft like Sander Wassink. Aspects that we are familiar with when it comes to the work of a designer. What we were interested in was to present their ability to make a drawing, to let them express themselves within the visual arts on a two-dimensional medium - to give them an uncommon creative compulsion." says Matylda Krzykowski about the project. For it, Depot Basel invited 13 designers to show a set of works alongside an self initiated artistic drawing.

Photographed by severafrahm and created by graphic designer Johannes Breyer, the catalogue for the exhibition showcases all the projects photographed in the boxes or in other wrapping.

Depot Basel shows great curated attitude and precise and original visual execution of it again. Congratulation!

Photos by severafrahm