Yesterday’s 100%Design festival kicked off with a press conference which posed the question of whether design has become “post-national”. The 17th 100%Design festival has 13 international stalls, including new country stands from Chilie, China and Greece, a fact which might suggest an ever stronger sense of national identity through design.

The panel brought together designers and architects, including Ben van Berkel, Kenneth Grange, Paul Kelley and Matthew Butcher as well as leading luminaries from the world of design commentary Graham Jones, Chairman of Design Guild Mark and Vice President of Knoll International, and chaired by award winning design critic Justin McGuirk.

McGuirk was quick to define, and expand, the parameters of this question, proffering that it is not a question regarding national characteristics of design but, as well as taking in this consideration, the question also considers economic and manufacturing matters.

At its foundation, this question must consider context and the extent to which any designer, or any anyone, designs within a context, whether that be the place in which they grew up, studied, the country of origin of the brief or the intended destination for the product, and in reality it is not a question of one of these contexts, but a tension between them all which imposes the creative context.

Take London as our context, the panel discussed the melting pot of ideas and practices which have characterised London the design-hub city. There was a feeling from the panel that “design from London” was very much of the moment and in the place. The influences of the designers working here exchanged in a kind of “economy of ideas”, with certain inherent British values, whether that be an accumulative British design tradition or methodological traditions casting a shadow across the work of young designers working within this city, or if there is something inherent about the city and the context which inspires a certain kind of design. Holland, too, was discussed, the support of the government having over time cultivated design, again creating a hub for designers. However, Ben van Berkel suggested that he at present felt that he was learning more from China, where UNStudio has just opened their second office, than from his native Holland, where he has worked for the majority of his career. The question then becomes one of knowledge creation and exchange, and the design and architecture market becomes a kind of network of knowledge. It is therefore the more common movement paths of the designers which propagate this knowledge exchange, meaning design is increasingly multi-national. But is this the same as post-national?

What came through the conversation was a certain sense of national pride, particularly exhibited by Matthew Butcher, who teaches and works in London. There is, he said, a lineage of design in London, and he is proud to be a part of that. However, this was not expressed in such a way that he resisted the concept of post-national design. Again and again the panel came back to this idea of an ideas exchange, and how designers were increasingly tending towards idea exchange and accumulation of transferable methodology from the countries in which they work, and the markets which they work for.

So, what would be the new context, if boarders and countries are becoming less relevant? This panel believes the attention afforded the environment, as well as “smaller matters” was increasingly producing a better quality of design because it, in turn, means a better quality of life. Therefore it is a total rethink of design, not just a collapsing of national boarders and boundaries, which is propelling design today. Rather than a post-national design tradition, there is an ever evolving design tradition motivated by ever intensifying localism. This loacalism permeates the entire process, from material sourcing to response, to how a design is marketed and results in final products which have an extremely strong attachement to their environment. As we talked to designers around the exhibition again and again when asked “do you feel like a British designer… is this a British design?” there was a resounding… “Yes, because I made it here, in London”. National identity is therefore not about a certain heritage, or characteristics, but rather a natural process of influence and sensitive absorption of and response to an environment. So, is design post-national? Perhaps, but only because what we used to understand by the notion of “national” characteristics (certain inherent values, schools of design structured around a country, etc) has been superseded by a new kind of regionalism has superceded that is transnational in its approach and shared values, but which produces design that is absolutely of its place and of its moment, wherever that may be, and wherever that designer may be from.

With only 10 days to go till 100%Design design kicks off now is the time to download the 100%Design App available not only for the iPhone but for all Android phones and for all you business people its even available for your BlackBerry.

Full of interesting and useful information; News, Videos, Photos, Twitter Feeds, Show Info,its a MUST download it even contains great news updates from Despoke!

Also from Wednesday 21st they’ll be daily updates of video, must see seminars, speakers an events planner all pushed to your phone so get downloading just use the links below.

ANDROID:market.android.com/
ITunes:itunes.apple.com/
Blackberry:www.100percentdesign.co.uk/

The aim of Director’s Cut is to showcase top designer and brand partnerships, each of which is a demonstration of unparalleled creativity, ingenuity and innovation in product design. Juileann Humphryes – Head of Yoo Design Studio and 100% Design’s Non-Exec Director will curate.

To celebrate this Despoke will be featuring all ten ‘case studies’ over the coming weeks leading up to 100% Design 2011.

The First case study is Anglepoise and their Design Director, Kenneth Grange have chosen the Anglepoise TypeC™ LED task light.
The shape and form of this new light takes task lighting to new levels of sophistication. TypeC™ LED features a dynamic, flowing design that is as beautiful as it is distinctive. Fitting neatly over a computer screen, the TypeC™ LED incorporates touch sensitive dimming, light level memory, energy efficient LED’s and a balance mechanism that responds to the lightest touch.

Simon Terry, Director of Anglepoise Ltd said: “After 75 years of Anglepoise tradition, and 150 years of manufacturing we have always felt that it was important as a family business to rejuvenate the ideas that made us innovators in the first place whilst engaging with the latest technologies. The new TypeC™ is at the heart of that journey”

Website:www.100percentdesign.co.uk/
Website:www.anglepoise.com

Just thought we would mention that the power behind despoke 100% Design have their registration open now and if you register you can also sign up for exclusive, secret information not available anywhere else even here !!

Where else can you find architectural hinges and embroidered wallpaper, handcrafted British furniture and cutting edge steel cladding all under one roof? At 100% Design, that is where.

This year, the international design showcase turns 17 years old. And as it has matured, 100% Design has continued to raise its game, bringing an incredible diversity of design to Earls Court each year.

As a result of peerless sourcing, the show has become the ultimate global sourcebook for interior design and a vital place to spot new trends, years before they hit the High Street.


Image:Bambi table by Caroline Olssen
100% Design encapsulates the best of contemporary interior design. It features not only worldclass interiors show 100% Design, but also architectural and interior materials exhibition 100% Materials and emerging talent showcase 100% Futures. With a global appeal and its status as Britain?s most influential contemporary interiors show, 100% Design is the ultimate UK forum for major international and UK brands.

Image:&Then Design Leigh Oak Coffee & Side Table with Formica Laminated Doors
Included in some of the 400+ exhibitors this year are: Channels, Ochre, Pottinger & Cole, &Then Design, Assemblyroom, Sena Gu, Nick Fraser, Endesign and Eskimo.

Image:Blend from Not Only White
Bathrooms and kitchens see the arrival of Bontempi, Tissettanta, Robert Timmons, Not Only White, Roca, Grohe and Vado.

Image:Neon hand-printed wallpaper by Kirath Ghundo

Textiles can be seen on the stands of Surface View, Lorna Syson, Claire Coles,Kirath Ghundoo, Missprint, and Paperboy.

Image:Norah high back chair by JDD Design
Whilst at 100% Futures you can see talent in the shape of Stephen Johnson, JDD, Young & Norgate, Method Furniture, Kirath Ghundoo and Tabisso.

Whether you are a professional designer, architect, interior designer or simply interested in finding good design for your home, 100% Design is the place to seek original new ideas in furniture, lighting, wall coverings, flooring, décor and much, much more.

This year, British design and emerging talent is a key theme, whilst new international pavilions will include Chile and Greece amongst others.

100% Design lasts for four days and includes how-to talks and workshops as well as fascinating inspirational lectures from BarberOsgerby, Priestmangoode, Bruce Monroe to Foster & Partners on everything from plane and train interiors to How To achieve successful mood lighting schemes.

Its really is easy and quick to register :www.100percentdesign.co.uk/

Last week I traveled down to Peckham – jumped on a number 12 at Trafalgar Square all the way to South London – I managed to get lost but thankfully had my GPS on my Dell Streak so managed to find their studio hidden away down some side streets.

About
Hendzel and Hunt specialize in the manufacture and design of bespoke cabinets and furniture.

Whether the product is a single piece of cabinetry or a complex and sophisticated interior Hendzel and Hunt strive to bridge the gap between creativity and engineering. Through the considered application of materials, style and a unique approach to the design process Hendzel and Hunt produce innovative and exceptional work.
Jan Hendzel is a trained engineer pattern-maker with 7 years experience in the trade.

Subsequently educated at Central St Martins with a BA (Hons) in Product Design Jan has a zeal for materials, design and manufacturing techniques. Oscar Hunt is a trained joiner and a passionate designer. Educated at University of Brighton with a BA (Hons) in 3-D Design for
Production, Oscar is interested in both traditional and interactive furniture design, involving a range of media.

Clients are welcome to visit the Hendzel and Hunt workshop by appointment to see at first hand the great care and craftsmanship applied to all projects.

MADE IN PECKHAM
Is why most people will have heard of Hendzel and Hunt, showing not only a great skill in furniture making but an uncanny understanding of Marketing as well. All the furniture is designed and built with sustainability in mind.

Made from reclaimed and waste materials sourced from the streets and reclamation yards of SE15 the pieces are both local and environmental.
These rough materials are up-cycled, transforming them into elegant and highly desirable handcrafted furniture. The furniture is made by interpreting traditional cabinetmakers jointing techniques without the use of metal fixings of any kind, just handmade wooden dowels.

The Gowllet stools are entirely constructed from discarded wooden pallets and the Kirkwood chairs are made from both reclaimed hardwood and Victorian floorboards. The paint used in the range is provided by Siecle Peckham paint exchange.

The MADE IN PECKHAM range is batch produced in small numbers and due to the very nature,and limited availability, of reclaimed and recycled materials every piece of furniture is distinctively unique.

To now MADE IN PECKHAM has been being sold mainly by Hendzel & Hunt themselves to great effect – London’s creative industries and Individual lovers of furniture have been snapping up their products as fast as they can make them and they have a very full order book for bespoke signature pieces.

It has also ment that they have had to expand with 4 new staff and at last a full time studio manager.

But now Pieces from the MADE IN PECKHAM range are available from Do South, 2 Westow Street, SE19. and from this month you can even order them online at www.lapaloosa.co.uk

Future Project

Finally Hendzel and Hunt have launched 24hr Challenge – here they explain what its all about:

24h Challenge which has been devised as a platform from which to encourage discourse and experimentation, through the narrative of a design and make exercise, on the processes of sustainability, up-cycling and localism.

Hendzel and Hunt’s studio-workshop will be transformed into a platform for discussion and experimentation where both the up-cycling of materials and the interpretation of their origin will be essential to the approach. Design integrity, beauty and elegance will be as important as the development of a working object.

The 24h Challenge will also be filmed and edited into a short documentary by BAFTA nominated short film director Samuel Abrahams. The documentary will detail the people, processes, and final outcomes of the project. Providing an impression of how meaningful objects can be designed whilst looking at global issues at a local level.
The Challenge will be announced on the day…

Unit 4, 9 Gowlett Road, Peckham, London SE15 4HX
www.hendzelandhunt.com

LIVING
I would wake up in my apartment on the 100th floor in the centre of Paris, walk to the window to look out onto the metropolis below.

If this design by Rochambeau Cyrille, Bertin Joel, Herizo Randrianarison is an indication of my future apartment block I would be very happy. The mixture of shapes and forms reminds me of the game Tetris and leads your eye through the design. The building boasts parks, shops, housing and cultural facilities so it is really a mini city. Maybe in 2050 I will have the possibility that I could sleep wherever I wanted? Just think of a location and mentally I was transported there, similar to the film Avatar where your mind was taken to another world.

Next would be the preparations for the day, breakfast and clothing. For cooking and food storage I would have installed my Electrolux modular kitchen.

This design oozes modern living. The modular aspect creates a very personal area that is individual and unique for your needs. For food preparation and cooking I would not have to lift a finger. I would simply think cut this carrot into strips and I would get a carrot that was cut in strips, maybe you could even buy food by thinking this way, which is not dissimilar from home delivery we have today just a lot quicker, well instant.

Clothing myself has drastically changed by the year 2050. I now simply print the clothing I want to wear in the morning and recycle it at night by the device shown above, no more washing dirty clothes.

TRAVEL
Although by the year 2050 I would like to think I could just imagine a location and appear there, a little like the film ‘jumper’, I cant see this being a reality. However I do think that that individual eco transportation is a definite reality. Such as this BMW ‘Halbo’ concept, and if it could drive on air then even better. Sucking air in like a vacuum and pushing out like a pressure washer to propel myself through the skies would be great fun. With this flying transport method I could live in Spain and work in London, great!

FOOD
Isle 10 is where I can find the eggs I believe, not in 2050! Vertical skyscraper farms are a reality now. I realise some may say we will be taking food pills but I am not a fan of this future prediction, I like eating. Therefore vertical farms are the solution. Everything you need contained within levels. Chickens on one floor and wheat on the next. The design below by Lee Dongjin, Park Jinkyu and Lee Jeongwoo of South Korea considers everything from the cycles of grazing, alternative uses such as restaurants and urban markets to eco sustainability. Great design. Of course shopping may also involve you not having to travel. Maybe when cooking your tea you realise ‘oh I need flour’. Currently you would have to stop cooking and rush to the shops, but this is 2050, just think I need flour and it instantly appears. Obviously this is being quite imaginative but hey its 2050 now.

Of course these are not the only aspects to consider. Will we be working 9-5 or will by then we have the ability to split the brain in half, working in London and swimming in the Mediterranean at the same time? Will we actually move from place to place of will we just move the environment to us?

Below is a small Q and A with Michael Goatman, Head of Industrial Design at Coventry University, about the future of lifestyles and the design industry.

Q AND A – MICHAEL GOATMAN

What is your background within product design?
Graduated in 1977 and spent 5 years involved with various design consultancies. Following this 10 years was spent at Phillips, in the UK and Eindhoven. Upon moving back to the UK Michael moved into higher education whilst also recently working with Cannon and Samsung as a design consultant.

How do you feel the future design industry will develop both within the UK / Worldwide?
The design industry will develop into a worldwide platform, instead of many national platforms that currently operate, with China being key in mass production. The UK will still remain famous for design intelligence throughout the worldwide platform however there will be a increase in individual product production, with the consumer being involved with the design process designing their own products.

For the younger generations that are thinking of or currently undertaking design studies what advice would you give them?
Do not think that your careers will be like mine, designing particular types of products. You will be the designers that think how, when and where can we enable / use this dynamic product methodology. You will be thinkers.

In 2050 how would you like to live?
Imagination is the key here. Transportation without having to control things manually, shopping without having to leave your chair by thinking I would like a chocolate bar and one appears and sleeping anywhere you wish like a beach not a bed.

During the discussion with Michael he was very enthusiastic and passionate about methodologies and design potential regarding the future. He mentioned there are already research programmes being undertaken into the area of individual product production. Now this may seem odd you being able to design/produce your own products but it’s not dissimilar to Apple allowing you to make your own music using Garage Band.

There are no limits for the future, just the limit of you imagination. There will be people that say, ‘you cannot think I want that and it appears’, but just remember one day people were saying man cant fly, it just needs that one spark of genius to snap in someone’s brain. Who will be the Leonardo da Vinci of the 21st century, is it you?

Although this is just a very small area of lifestyles in 2050 I hope it has been an interesting read and made you consider how you would like the future to develop.

Author – Nick Morris

THE first ever solo exhibition by renowned British furniture maker John Makepeace opens at Somerset House in London on 16 March 2011. The show celebrates Makepeace’s 50 years at the forefront of British design and is funded by Arts Council England in recognition of Makepeace’s international status in designing furniture as a contemporary art form. The exhibition is part of a tour organised by The Devon Guild of Craftsmen.

‘John Makepeace – Enriching the Language of Furniture’ runs from 16 March to 15 April 2011 and brings together 25 pieces from public and private collections in the UK and abroad, some not previously seen by the public. Recent work includes designs made in limited editions from a single tree.

Image:Mitre, chair, c.1977 Macassar ebony and nickel silver Private collection

The exhibits will include the famous ‘Mitre’ chair made to celebrate HM the Queen and Prince Philip’s Silver Wedding Anniversary and ‘Ripple’ – a chest carved with wave forms penetrating the surface of the oak, from a tree planted in 1740 and harvested in 1980.

Image:Trilogy, desk, c.1990 Cherry, bog oak, stainless steel and bronze
From the private collection of Vanessa Branson and Robert Devereux

Makepeace’s visionary career positions him as the father of British furniture design. His design and manufacturing represent a meeting of classic and modern, embodying workmanship of the highest standard and championing sustainability. Each piece of furniture, standing alone or as part of a collection, is original and quintessentially English.

Inspired by Danish designers in the 1950s, the young craftsman built his own workshop and soon earned national acclaim for retail products for Heals, the Centenary Dining Room for Liberty’s and winning design competitions, including an Observer challenge to design the perfect modern kitchen. In the 1970s he was a founder trustee of the Crafts Council and gained international renown for setting up Parnham College, which integrated the teaching of fine craftsmanship in wood with design and entrepreneurship. Former students include Sean Sutcliffe of Benchmark, Konstantin Grcic and Wales & Wales.

Through the ‘80s and ‘90s, while directing the College and running his own studio, Makepeace addressed some of forestry’s most pressing economic concerns and explored its environmental potential. He brought together foresters, chemists, material scientists, structural engineers and designers to research and develop sustainable new technologies and building systems. They used forest ‘thinnings’: low value trees of small diameter removed to enable the better specimens to develop. The award-winning buildings that resulted at the Hooke Park campus are proof of a most successful multi-disciplinary collaboration. Since 2000, Makepeace has been leading initiatives with the V&A to encourage more adventurous design.

Image:Zebras, pair of cabinets, 2010 Black oak and holly

Makepeace’s own work is represented in numerous collections including the Victoria and Albert Museum, London, the Fitzwilliam Museum, Cambridge, the Museum fur Kunstandwerk, Frankfurt and the Arts Institute, Chicago. He now works to commission, undertaking several major projects in the US, and has recently introduced a range of affordable limited editions.

Makepeace became an OBE (1988) for services to furniture design, was given the Lifetime Achievement Award by the Furniture Society (USA) in 2002 and is an Honorary Fellow of the Devon Guild of Craftsmen. He was recently nominated for the Prince Philip Designers Prize 2010 and received a Special Commendation.

Makepeace says: ‘In a world where so much attention is given to the short-term and superficial, our relationship with craftsmanship is more important than ever. Beautifully made and designed pieces that will endure and become heirlooms are a necessary antidote to the virtual reality that now permeates the culture.’

The exhibition is being held in the Terrace Rooms facing the Thames. Several of the pieces will be for sale.

Website:www.somersethouse.org.uk/

Image:Sylvan, chair, c.1985 English oak From the private collection of Mrs Valerie Kunzle
When clients moved into a new home, they extended their dining room with a semi-circular wall of windows looking into an adjacent woodland. Both for family and guests, they wanted a feeling of informality. The asymmetrical form of the table and chairs, bringing the feeling of the woodland into the house, enhanced this. All the curving components are built up from thin layers and glued in the required curvature

The Creative Lab team offers advice and guidance as well as practical support, helping projects to progress beyond the design stage into a prototype or even entering production as a small series. The products contained on the following pages are prime examples of how Creative Lab has already succeeded in turning ideas into reality.

Below you can see some of the successful products that have been created with these partnerships.

Tom Dixon
‘Flat Lamp’, a unique collection of OLED light bulbs. A true first in the next generation of illumination, OLEDs provide ultra-thin, consistent, energy-efficient and sustainable lighting. The Flat Lamp is a typically direct and succinct interpretation of this new, exciting technology and the collection includes three different shapes: Square, Round and Strip.

Modular
Form follows technology – in this case, the design of the fixture required to take OLED technology to the next level. The form of the fixture is inspired by the organic shapes that are increasingly found in the world of design. The word ‘organic’ is particularly appropriate, both to the OLED technology by Philips Lumiblade and to the range of O’Leaf by Modular. The O’Leaf family contains different functional fixtures: O’Leaf wall, O’Leaf ceiling, O’Leaf table, and O’Leaf floor.

Jason Bruges Studio
Commissioned for Milan 2010, Mimosa is a captivating artwork featuring Philips Lumiblade OLEDs. The piece was inspired by the Mimosa family of plants, which change kinetically to suit their environmental conditions.

The studio has used the slim form of individual OLEDs to create delicate light petals, forming flowers which open and close in response to visitors.

Established & Sons
Edge is driven by a desire to exploit a technology that is in its infancy but is destined to change the way we see light. Dubbed ‘the new lighting technology of the 21st century’, Lumiblade OLEDs give no flickering of light, no glare and no excessive heat emission.

Instead, there is simply a subtle sheen of light. Levete wanted to
reveal the wafer-thin essence of OLEDs and create a light that is
completely reductive in its simplicity. A flat ribbon of steel is twisted
into a self-supporting form. A groove is then cut into the steel,
off centre, to allow the cable to be expressed and to exaggerate
the movement of the piece.

Random International
This experimental OLED installation, created by the rAndom International designer-artist collective for Philips Lumiblade, can also be seen as an interactive kinetic light sculpture: With its warm white light from 900 shiny bright Lumiblade OLEDs, it reflects its observers and translates their movements into light moments or – conversely – enables the observers to use their movement to switch off the luminous wall for a brief moment.

This allows the observer to experience the Lumiblades in a playful way and to witness at first hand the power of the latest technology and innovative, environmentally-friendly material.

To find out more about Lumiblade and OLED’s and even to buy Limited edition Products :www.lumiblade.com

OLEDs (Organic Light-Emitting Diodes) are the next step forward in the evolution of new light sources, generating light by semiconductors, rather than using a filament or gas. LED and OLED lighting provide illumination that is more energy-efficient, longer-lasting and more sustainable. It also opens exciting new doors to how we can use, integrate and ‘play’ with light in our homes, cars, shops and cities. In addition to Philips’ expertise in LED it is now developing its OLED expertise.

LEDs and OLEDs – the difference
LEDs and OLEDs both generate light by semiconductors – basically by stimulating electrons in their components with an electrical charge. They also share the ability to create color effects that go beyond the ability of incandescent lamps. They both share the potential to become extremely energy saving light sources. But there the resemblance ends. There are a number of differences between LEDs and OLEDs in their make-up, the type of light they produce and the way they can be used, complementing each other in terms of application used.

In September TEN PLAN was Highly Commended by the Judging panel for the Blueprint / 100% design Awards. This year the TEN designers produced downloadable plans enabling the public to make designs by the collective. We constructed a Flowerpot Furnace, smelted scrap aluminium that we had collected and cast components for an adjustable task lamp called C-Lamp.

VENTILITE
Ventilite received an Honourable Mention at the Surplus & Creativity Exhibition in Wellington, NZ. Ventilite coupled water jet cut aluminium legs with re-appropriated housing vents to produce a small industrial table lamp. The judges included Professor Jim Kaufman, Treasurer of the Industrial Designers Association of America.

www.northwards-design.co.uk/

MMXI UTILITA MANIFESTA – FIGHT POVERTY DESIGN COMPETITION

Announced as one of Ten Finalists in the Utilita Manifesta Fight Poverty Competition. The competition, supported by Iconograda and the AIAP, called for Industrial & Graphic Design entries that attempted to deal with the issues of sustainability and social change.

Fat Lip is a collaboration with ethical manufacturer Bodj who work with local people in Cambodia to enhance their quality of life through empowerment. Utilising traditional Khmer craft techniques we designed as a log basket that uses the rim of the basket as the handle, constructed from woven rattan on a light gauge coloured steel frame.

northwardsdesignstudio.posterous.com/

FAT LIP FOR BODJ
As stated above, FAT LIP is the first collaboration with ethical manufacturer Bodj. Fat Lip will be officially launched later this year, with the Design Royalties from the project being directed back to the villages to help support child education and assist the makers who produce the product.

This is the first in a series of exciting collaborations with Bodj. Look out for more news on the project in the future and images in the Northwards Design Studio website soon

www.bodj.co.uk/.

YIELD
Earlier this year TEN were asked to design the exhibition for a new show by sustainable fashion designers Holly McQuillan and Timo Rissanen.

YIELD will show the best of Zero Waste and maximum Yield fashion design. The show will be at The Dowse in Wellington in March and Parsons New School in New York in September. Exhibitors include Zandra Rhodes, Julian Roberts and Yeohlee Teng.

Collaborating with Graphic Designer, Gerbrand Van Melle, we have designed an exhibition experience that uses QR codes to give a mixture of static and dynamic information. The exhibition attempts to convey the transition from two to three dimensions in the zero waste design process by exhibiting the finished garments over the full size flat pattern. Furniture for the exhibition will be made from test prints of the pattern on the recycled cardboard honeycomb substrate that will display them.

The project aims to deliver an exciting contemporary exhibition in the most sustainable way possible.

We are giving an insight into the design process in a completely transparent manner, which you can view on the YIELD blog.

yield.posterous.com/

northwardsdesignstudio.posterous.com/

Image:Cork bowl by Skram

Image:Corrie Williamson hand-made bangle

Image:Horn/rope necklace by Florian

Image:Hand-bound notebooks by Darkroom

Image:Umbrella by David David

Image:Hand-knitted cushion by Darkroom

Image:Cork bowl by Skram

Image:Leather Ipad sleeve by Antiatoms

Darkroom is a new concept on Lamb’s Conduit Street, London WC1. They curate an eclectic mix of high-end fashion, interior and lifestyle accessories alongside bi-monthly art and sculpture exhibitions.
Find Out More here:www.darkroomlondon.com/