We have presented our work with Rossana Orlandi for the third time – an oasis of authenticity, not only during the fair, but all year long. Not only focused on sales, but also on presenting the heart and soul of our products. Every time I return from Milan, I am particularly happy due to the ambiance, intimacy and friendship. It seems to become more and more like I hoped it would be; sales in other countries in a very personal way, whereby I can really stay true to myself and we can continue working as we love to do.
This year we have redeveloped the cushion sofa using Rossana’s tie fabrics that are in plentiful abundance. She purchased the building including it’s stock and some members of staff. When I asked one of the ladies, Beatrice, whether the sofa and the presentation were a part of her history, she replied that she had worked in the tie factory for over thirty years and how pleased she was with the presentation – the old boss would have been wonderfully proud.
The process is exactly as I like to work, and often do. It is a simple story, recognisable to many, a collaboration using unique and valuable materials. Unique, so limited in quantity and put together personally. As well as the sofa, we also presented new outdoor furniture and ceramics.
I was involved in several conversations that highlighted a significant concern relating to the craziness that has developed in the market when it comes to designers presenting their products as art. Have designers become the pop stars of art? Does this mean they are justified in charging random prices? And how can you recognise an artist between all the designers that sell their products as art? Is it a guarantee if a New York gallery asks $30,000 for an object? Will he have a long-term career? Is quality necessary in order to achieve sustainability? Or is it all nonsense? A big bubble, the likes of which we saw burst around the turn of the century?
For me, one thing is sure. Of all these designers, there are few or none with the ideas of an artist (at least, I haven’t come across any so far). The prices are made possible and stimulated through publicity and market craziness. There are certainly still good investments to be made – the Eamses and Prouves of the future. To keep it in the Netherlands, better invest in a prototype or first model by Dick van Hoff, for example, than one of a run of thirty by an ‘art-designer’. Incidentally, I have to admit that every man meets his match, and if you really want to spend some money, you should buy something from Studio Job who was the first and at least does it well!
This post is also available in: NL
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