Editorial
The latest edition of Dutch Design Week saw an abundance of introspective projects that express a complex and sometimes contradictory web of political, physical and spiritual viewpoints.
While the crowds were back to pre-pandemic numbers at this year’s contemporary art fair Frieze London, last year’s rejection of the brash and the shocking in favour of something gentler and more personal seems to have stuck. The dial remains firmly turned to commerciality, rather than shock and awe.
Despite celebrating its 20th anniversary, 2022’s edition of London Design Festival was a somewhat subdued event, with the effects of the pandemic and current economic uncertainty continuing to be felt.
Back after a significant gap of four years, Germany’s biggest office and contract show Orgatec was a chance to see if the recent seismic shifts in work have filtered through to office design.
As the world moves on from the pandemic aesthetics and ventures out once more, Swedish designers are acutely aware of the importance of reinvention. Stockholm Design Week report.
From failed chemistry experiment to the giddy heights of Victorian fashion, flirtations with royalty and camp, and now a role in colouring the Metaverse, mauve is a colour with a rich and often surprising history.
Some motifs rise and sink in our collective consciousness, the inevitable consequence of a complex web of social and cultural factors. Part of the forecaster’s remit is to spot the ebb and flow of this popularity; here we look at the feathery appeal of birds.
Emerging from a two-year hiatus, this year’s EuroCucina marked the return in force of the kitchen sector, building on the collective experience of the pandemic to rethink aspects of one of the most important spaces in the home.
