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Review of Maison&Objet Spring-Summer 2008
Reviews
By James Posey
This season's Maison&Objet show in Paris, which ran from January 25 through 29 was certainly exciting – and perhaps even a bit overwhelming – in its sheer volume, both of exhibits and of level of creativity. Despite the gloom outside the halls about the global economy, or the banking emergencies that had just been announced in the same city, no hesitation seemed to be apparent for buyers and sellers alike, nor for the throng of interested on-lookers and other design-conscious attendees.
My day started bright and early in Hall 1 in the Ethnic chic area. To describe what kind of impression this initial area – and also really most of the entire show – had on me, I quote the "welcome sign" of the DK Home exhibit, with kind permission:
"We have created this extraordinary decorative object(s) to touch, hold, use, relish, admire, take comfort in, act upon and live with."
This was certainly true not only in Hall 1, but also later in the Home Decoration, Textile and other Design parts of the show, with many exhibits inviting the visitor to have a seat, take a moment to relax and reflect, or even to reach out and touch. Almost everywhere, the viewer was confronted by nature, alive, blooming and refreshing. Objects said: "Feel warm and secure here," or: "Touch me, I am soft and inviting," or even: "It's okay, this is part of my life cycle!" (even if "life" as it were was at its end) ...
One of the main themes was clearly wood, with a variety of sizes and finishes of fascinatingly shaped pieces exhibited. Most often, these were driftwood in various states of finish (ranging from "raw" colors to deep blacks), or cross-sections seemingly cut as close as possible to the roots of fallen trees to make the sturdiest of tables, or burned, almost charcoaled pieces. What appeared to be old bed-posts were seen to serve anew as decorative fixtures or even exotic statues with an almost eerily African-style styling.
Tables in many areas were clearly announcing: "bigger is better"; many were designed with a view to reassuring you that it was okay to enjoy yourself at home as much as you would in a restaurant ... and while you're at it, invite as many friends as you want over to join you! In other words, there were some BIG tables to be seen and, along with them, no shortage of a wild assortment of tableware to go with them.
Almost a hundred and eighty degees from this was a very clear trend towards "knick-knack antiques" that featured semi-finished or even worn-finish appearances. This was true not only of a number of Western exhibitors but also Asian suppliers as well, who featured Chinese apothecary cabinets with oriental styling added as a flourish, for example with metal plating along with the "original" paint color.
The show also featured a number of different substrates for exhibiting many moods. There was definitely a recurring theme of pearlescent effects based on natural or man-made finishes. Several designers featured the shiny insides of mollusk shells on lamps, vases and many other objects. All of these were very invitingly tactile - many a viewer felt the need to rub their hand across the surface.
What is also clear is that designers are pushing more and more exotic designs for lamps and light fixtures for home use without detracting from functionality. For example, Faïencerie de Charolles featured a number of interesting forms and textures, where not only the shape, but also (again) the surface finish, the proportions, the complementarity of shapes, and so on, all contributed to the light, and feel, and warmth projected. Charcoal satin blacks, deep, shining ebony and metallic brilliance were among the most featured finishes. It was as if the designers were trying to make the wattage they have work to its fullest, while waiting for the new "energy saving" (but perhaps less intense) bulbs around the corner.
Even though metallics were heavily represented, none of the objects felt "harsh" in either appearance or lighting effect. Striking examples of stacked light bulbs, or shapes-within-shapes (circles-in-squares, etc.) were both eye-catching and aesthetically pleasing.
What was particularly refreshing in this regard, be it from DK Home, or Faïencerie de Charolles, or the various displays by Vanin Giancarlo, was that "traditional" shapes were not being forced upon the consumer. Yes, the nice reading lamp of your grandparents' living room was still there with its warmth and convenience. But many designers were providing new forms for all kinds of objects. For example, Trading Post exhibited various fantastic designs for "enclosed" comfort in the form of beds or settees. (Actually, I wasn't sure what one was supposed to do in these objects and didn't have the courage to ask!) Other designers displayed metallic structures that looked like someone had gone wild bending and forming old fans ... again making it almost too clear that these were made from already-used materials!
One color everyone wanted to display was green, either in terms of real plants or green-colored materials. Meanwhile, some exhibitors dedicated large areas for "designer" pebbles (including some with your own message or mystic runes carved into them) and other “natural” items, scattering these about either at the base of a statue gurgling softly with relaxing water (for example, the gigantic yet eerily soothing sculptures of Mambo Art, or in glassware of all possible shapes and functions.
Man-made flowers and floral arrangements were outstanding in their quality and authentic look, especially at Vanin Giancarlo. Here one found butterflies with exotic floral arrangements in metal with a distinctly aged look. Vanin Giancarlo was one of many exhibitors to display metallic or wood finishes that had been achieved by what seemed to be a kind of "sand blasting" or otherwise spray-finishing, the surfaces coming to resemble skeletal structures from abandoned warehouses.
Vanin Giancarlo also featured lovely open and splayed flower chairs. Other pieces had intricate mosaic patterns using materials resembling fine-grained, raw mica, with effects ranging from pearlescent hues to deeper, more earthy tones. Le Phare Design was another exhibitor that displayed a wealth of materials made in this beautiful art form that seems to be enjoying a renaissance, with not only the unique designs being of amazing distinction but also their painstakingly time-consuming production being very apparent.
Other materials present throughout the show featured tables and even globular forms "coated" with small seashells or adorned with the black feathers of some mysterious jungle bird. And then you'd turn around and – voila! - there would be an entire area devoted to "traditional" candelabras.
The show’s main stylistic influences were classical Greek, African and Asian. Coming to the aid of some fellow countrymen with the service of my broken language skills, I was very fortunate to speak with Richard Giron and Deborah Benz of Emess Design, who had some key insights to share. "Certainly 'ethnic chic' remains an exciting mix of several different trends moving in different directions," Richard commented. "Still, as seen from the view really of the buyers and sellers, there is a 'global caravan' of production locations going on, including seeing movement towards Indian, African and Moroccan suppliers.
“Of course, the influence of Asia is being felt more and more every year. The initial "oriental domain", if you will, started in this area in the mid-90s with a kind of ’Zen‘ or ’Feng Shui‘ approach. Since then the evolution has been away from 'pure' Chinese traditions – which are typically rather conservative in styles and colors – to more Thai influences, including icons, finishes, more vibrant color mixes, etc.
“The biggest ’mover and shaker’ in terms of trends is the move back to nature and, in particular, the use of wood, be it new, recycled or even 'stressed' in appearance. This is also the trend for metallic finishes, that are changing to develop aged looks, with a lot of money being spent on creating materials and then 'pre-aging' them. Again, feeling you are putting something 'recycled' back to good use is considered a 'feel-good' purchase."
I then moved on into the areas of the show oriented towards home furnishings and textiles, which were housed in what appeared to be almost a gigantic invitation-only shopping mall. These areas – stretching across a huge expanse of the exhibition center – featured many of the "big" designers and movers and shakers, including Lacoste, Ralph Lauren, Mexx and Bossi among others. Clearly, American, Italian and French influences ruled here.
Although I could not discern any particular trends in colors, for this part of the show the message was clear: being comfortable – even lavishly so – is in. But this was also offset by an almost rustic, natural look for inner window linings, often featuring the texture of raw linens or un-ironed, crumpled appearances.
With the exception of the few Art Deco or pure photography exhibits, the presence of the “recycled” appearance was also very apparent here. Even some of the more exciting leather goods I saw were made to look much more worn than the traditional, "Italian-made", sleek look. Now I understand better why my little sister always loved to receive my hand-me-downs!
Still, I was determined to find something completely unique and radical before I called it a day. I did find some "shock" stylings in the form of fluorescent, or neon Buddhas, or other "Japanese collectibles". Here, I was particularly amused and pleased by both the Yo co exhibit and also the use of recycled jugs and bicycle seats to fashion mounted "skulls" by mahatsara I also found the approach of Pacific Art Design and their Trendy-Tubs® to be worth a smile and a nod for their creative and unique efforts.
Towards the end of my day I did find one exhibitor that not only embraced the trends that I had seen all day - namely of a natural look for color and form and also embodying the full spirit of the recycling mantra of the show. I had the absolute pleasure to talk with Ute Hübler of Espirito Brasilis about the wealth of colorful mats, wall decorations and exotic bowls on display at their stand. To my surprise, all the items I was seeing were made (a) using only recycled or purely natural goods and (b) as part of a bigger social program in Brazil to get those who needed funds the most back on their feet. All I can say after hearing about how tons and tons of beach shoe "waste", or used telephone books were being turned into such lovely items is that I will be contacting Ute again at my earliest convenience to follow up on this interesting story!
And that, friends, was all my tired feet could take! It was back to Paris to rest and hit the Pompidou museum the next day. But that – perhaps, Editor willing – is a story for another day ...