Mizetto’s Summer Collection Tests Design’s Boundaries

Creative and fun, Mizetto’s Summer 2023 Collection lives somewhere between work and play. The brand has pushed its own capabilities, exploring new materials, production methods, and functionality. Made in Sweden, the latest release includes a wood chair, a versatile table with attachments, a leaning piece, modular planters, and a trash/recycling bin. All share the qualities of clean lines and curves and leave you wanting to experience each for yourself. Known for its color combinations, Mizetto has also added five new “Nordic noir” hues: rusty burgundy, cloudy latte, forest green, latte, and dusty blue.

Perhaps the most curious addition is Lumber by Addi, a piece meant for leaning, lingering, and loitering. The soft beam’s release marks the first upholstered product introduced by the brand. It’s a great answer to adding seating to small spaces, and we can’t help but note its resemblance to a dynamic piece of gymnastics equipment. A quick place to stop on the go for a coffee or email check, Lumber’s small tray-like table adds further functionality to a piece with no obvious front or back. It can even be hung on a wall for maximum space saving. Lumber’s upholstery is flameproof wool, with a cover that’s fully removable, repairable, and exchangeable. The legs are powder coated metal.

A wooden chair is new territory for Mizetto, so they turned to an expert for help – Finish-Swedish furniture designer and woodworker Sami Kallio. The Embrace armchair was a result of the brand lacking seating in their own spaces, and shortly after, Kallio walked in with a fully functioning prototype.

“A few alterations later, Embrace was born; a chair that seemingly hugs its user. I love how it can be hung on a tabletop and stacked, but still provide us with all the beauty and comfort we seek in a piece of furniture,” said Rickard Muskala, founder, and chief of product development.

Kallio is also behind the multi-purpose table in the Embrace series.

Playful, fun, and modular, Addi’s Plant Here gives our green friends a pedestal fitting of their mood-enhancing ways. The planter pays attention to the various needs of different varietals through its accessible design, whether you’re a balcony or office gardener. Features include a generous depth, transparent inner pot for easy planting, different heights, shapes, sizes, and colors. Combine two or more to form endlessly possible installations.

Trash and recycling bins are a necessity, but that doesn’t mean they have to look like one. Pelican by Studio Nooi turns them into minimal decorative objects with touchless interaction. Their semicircular shape allows for modular design, creating an oval when placed back to back. Pelican’s design is suitable for residential as well as commercial spaces, and comes in two sizes and a variety of colors.

To learn more about Mizetto’s Summer 2023 collection, visit mizetto.se.

Cobra Studios’ Decor Thrives on Surprise + Charisma

Architect Kenny Decommer and scenographic designer Hugues Delaunay have otherwise been known as Cobra Studios since 2020. The Brussels-based duo work together to bring creative, sculptural furniture pieces and interiors that overflow with color, material, form, and texture to life. The studio recently launched a series of chairs, tables, lamps, sofas, and curtains. Initially designed for a specific space in the Art Deco SHELL building near Brussels Central Station, the collection can be combined with other pieces previously released by Cobra Studios for an inimitable aesthetic.

Cobra Studios’ manufacturing process for the series includes reusing and recycling materials and objects – including leftover resin stock – to bring these new pieces into the world. The original elements of the Art Deco SHELL building include travertine, marble, and concrete and have been combined with latex, clay, stainless steel, foam, resin, velvet, and aluminum. The end result is a surprising, charismatic, and chic visual experience that retains an air of fun.

To learn more about Cobra Studio’s furniture and lighting, visit cobra-studios.design.

Take Control of the Mood With the Nivél Pendant

Pablo Designs is hoping to redefine pendant illumination with the Nivél Pendant. It’s formed from a simple, pure silhouette and brought to life with a spun-shade form and a flat panel LED light. The LED pivots on an axis to focus light downward or as a soft wall wash, giving you the control to set the mood for any space. While on, Nivél only uses 10.5W of power, making it 90% more efficient than comparable halogen light sources and 40% more efficient than CFLs.

The Nivél Pendant can be suspended on its own or grouped in a multi-light cluster. The group can then be powered by a single hardwired light, allowing the user to reposition the height, span, and direction of each individual pendant. Choose from two available sizes, 15”(38cm) and 22” (56cm), and six powder coated finishes: matte white, Terracotta, Forest Green, Slate Blue, Espresso, and textured black. You’ll then have the option of pairing Nivél with a graphite or white fabric cord and ceiling canopy for a truly personalized experience. Nivél is also available in a flush-mount version in white for both sizes.

The design is sustainable, using minimal materials and containing no hazardous materials. And it’s ready to stand the test of time, lasting for 50K hours or 25 years of daily use – whichever comes first.

To learn more about the Nivél Pendant, visit pablodesigns.com.

Lee Broom Exhibits Within the “British Capsule” at Maison&Objet

This year, British designer Lee Broom had the honor of being invited by Maison&Objet to share his work in an exhibition that featured iconic pieces, fresh developments, and collaborations from some of Britain’s top designers. For the “British Capsule” Broom included his new Divine Inspiration collection of lighting, as well a selection of complementary furniture and decor.

“We are thrilled to be selected to join the British capsule at Maison&Objet. In the spirit of Maison’s theme ‘Take Care’, we are showing an edited selection of pieces that bring a sense of the comfort of the home combined with an element of spirituality and mysticism,” Broom declared.

Inspired by the light and shadows created by lancet windows found in church arches, the highlight of the exhibit is Broom’s four meter tall Hail light. The elongated aluminum elements and reeded glass lightbulbs are asymmetrically placed, while its impressive size adds to the drama.

Alongside Hail were the Vesper Duo lights. Dramatic in their own right, Vesper’s prolific design leans on the simple geometry of Brutalist sculpture and modernist cathedral lighting. (The shared inspiration between Hail and Vesper doesn’t go unnoticed.) Using extruded aluminum, the lighting’s rectangular cube-like shapes are joined together by illuminated spheres.

Broom’s portion of the exhibit resembles a dining room setup, using light greys and brushed silvers to create a modern calm. His round Musico Table and Musico Chairs make a statement with their hand-bent, twisted stainless-steel tubes. Two Fulcrum Candlesticks, made in Nero Marquina Marble, reside on each side of the booth. And reflecting it all back on the viewer is the Split Mirror hanging on the back wall. With a precisely cut vertical slice that’s shifted upward, it reveals an unexpected oak-trimmed view of the black frame.

Musico Table and Chairs

To learn more, visit leebroom.com.

New Releases From MENU Stand on Their Own or Together

Each of MENU’s latest releases has their own individual personality, but also feel as though they could band together as a capsule collection. A clever, space-saving coffee table, a well-crafted dining chair with or without armrests, and a triangular side table meant to nest with more of its own all have their place. With rounded legs, wood tones, and attention to small details, they have our attention.

Originally designed by Danish designer Mogens Lassen in 1941, the Jäger Lounge Table has quite the backstory. Lassen was commissioned by a merchant – named Jäger – to make a coffee table. He shared several design options, but this one that was inspired by the folding furniture found in Tutankhamen’s tomb was never produced. It was rediscovered in 2020, and MENU has spent the past two years making sure the Jäger Lounge Table is true to the original designs while also meeting modern standards.

It’s also a small space dweller’s dream come true. When not in use the Jäger Lounge Table is easy to fold up and tuck away. A solid wood frame, seamless joints, warp-free veneer tabletop, and brass fittings make it a sturdy coffee table that’s ready to go the distance. Each oiled oak or oiled walnut piece comes with a brass plaque engraved with its serial number for an extra unique touch.

The Merkur Dining Chair has its own tale to bring to the table (pun slightly intended). It was first designed for the Oslo Stock Exchange, and named after the Roman god of trade – Merkur. The updated remake of the archetypal dining chair brings together traditional craftsmanship techniques, a timeless form, and modern function. You can customize the chair by choosing armrests or no armrests, natural oak or black oak, and a variety of fabrics offered through MENU’s upholstery program.

Stackable, space-saving, and the ultimate example of mid-century modern design, the Umanoff Nesting Side Table was created by Arthur Umanoff in the 1950s. Traditional yet somehow unexpected, each table features colored laminate panels in geometric shapes for that little something extra. The solid walnut design is lightweight and easy to move about, a smart addition to any space.

To learn more about the latest additions to MENU’s offerings, visit menudesignshop.com.

“Ray’s Hand” Illuminates Half of the Iconic Eames Partnership

If you’re a fan of Design Milk, you likely love the Eameses as much as we do or you’ve at the least heard of their brand. It’s nearly impossible to be part of the world of modern design and not know of the prolific husband and wife team – Charles and Ray – responsible for co-founding the Eames Office. As creators of so many iconic designs, they and their influence have been celebrated for decades.

Now, The Eames Institute of Infinite Curiosity has launched an exhibit – Ray’s Hand – that focuses solely on Ray, her talents, and the gender roles she worked against that were typical of the era. The exhibit opened on December 15, 2022 to mark what would have been her 110th birthday. Luckily for all of us, it’s free for everyone to explore and enjoy online.

Pulling from the Eame’s Institute’s collection – full of many things, including some that haven’t been seen since the Eames Office closed in 1988 – the exhibition highlights artifacts such as sketches, scraps, and tools that were integral parts of Ray’s creative process. Each item illustrates Ray’s contributions and talents, which can sometimes be seen as obscured. Meanwhile, Charles knew better, often saying “Anything I can do, she [Ray] can do better.” And he meant it. Ray’s Hand helps to shed light on the roadblocks she encountered, some of which women are still railing against today. A few of her many notable contributions to the Eameses’ iconic design portfolio include the House of Cards collection, the Time Life Stool, and the Sea Things Tray.

We had the opportunity to speak with Ray and Charles’ granddaughter, Llisa Demetrios, who is also the Chief Curator of the Eame’s Institute. She recalled, “When I would visit their office and see Ray and Charles working on projects at the office, there was always mutual respect. There is a quote by former Eames Office staffer Jeannine Oppewall in Pat Kirkham’s
book Charles and Ray Eames: Designers of the Twentieth Century that reads “…(the) method of working within relatively modest limits comes from the Eameses’ philosophy of ‘choose your corner, pick away at it carefully, intensely, and to the best of your ability and that way you might change the world.”

Initially known for her work as a painter, Ray transformed her palette into the Eames’ world of furniture, graphics, film, showrooms, exhibitions, and architecture. “I think this (transformation) is shown in how their designs always evolved from their original hands on learning. The artifacts in this current online exhibit demonstrate Ray’s exploration of solving problems and iterating on the solutions… As they collaborated, they grounded and supported each other’s creative process. I felt when I saw them working on a project at the office that each had 51% of the say in the final vote,” Llisa said insightfully.

Behind the scenes, Ray was also a set decorator, stylist, colorist, material consultant, and host – all roles that were downplayed and misunderstood at the time as small roles given to women. When in fact, Ray was a trailblazer who deserves her share of the spotlight for doing things that are now each their own individual industries.

We couldn’t help but be curious as to whether Ray had a favorite piece, category, or project. Llisa said that there was no favorite as far as she was aware, but that “… in an oral history that our friends at Herman Miller recently shared with us, she talks about her fondness for the plywood screen and for the wire chair with the two-piece “bikini” pad. Her focus was always about identifying, extrapolating, and creating for the need of each situation, in both her personal life and professional life – from a bouquet for a photograph to an exhibit graphic to a toy to a picnic to a furniture prototype.” Life was art and art was life in Ray’s eyes, and that comes through in her design work.

“When I think of Ray, I always think of her hands in motion as she was creating something – writing a note, cutting a shape out in paper with scissors, looking through a magnifying glass, arranging a bouquet, photographing a leaf on the ground, looking up something in a book, arranging seashells on a shelf, or winding up a tin toy. She always took delight and pleasure in nature – which is evident in the way they cultivated an indoor-outdoor lifestyle at their house,” Llisa said of fwhat kept Ray’s interests piqued and her mind full of inspiration. “You see it in her photographs of things like eucalyptus leaves dropped on the pathway, or geraniums in pots lined up outside, or kelp and seaweed washed up on the beach. And I think of her smile when she looked at something that was well-crafted by human hands – like a bundt cake dusted with powdered sugar or a bowl of fresh strawberries or a beautiful bouquet of roses.”

Not even Llisa realized what a design force her grandmother was until one time in college when she took the train into New York City to see Ray give a talk to an auditorium of college students. “I remember how her voice commanded the room. Everyone was listening to her every word. After the talk, we were supposed to go out to dinner – but before we could leave she was swarmed by students, professors, journalists, and old friends and acquaintances. Before that night, I just thought I was going out to dinner with my grandmother, but then I realized that if all these people wanted to hear what she had to say she must be pretty important.”

Ray’s love of functional design even spilled over into her own wardrobe. Llisa shared that Ray designed her own skirts and dresses to include lots of pockets “to hold a few coins, her wallet, a magnifying glass, pens, scissors in a sheath, little notepads, a calendar, safety pins, keys, hair pins, paper clips, a handkerchief with lace edge, grosgrain ribbons, paper color samples, business cards, a Polaroid camera – and even, on occasion, a present like a tiny Steiff bear that she gave me.” Those many pockets provided space to store, investigate, and take advantage of the world around her. “When I was little, I saw a lot of these objects as everyday, well-worn and functional… Today as a curator, I see them also as a set of powerful, well-crafted, often beautiful tools that helped her be effective in her work… Basically, she wore a fashionable toolkit.”

The world of design – and that available toolkit – has changed immeasurably since the heyday of the Eames, and we wonder how Ray would have approached all things digital when coupled with her trusty analogue tools.

“Every drawer from the Graphics Room spilled over with colorful papers from around the world, pieces of chalk in sawdust, crayons, colored pencils, paints, rubber stamps, silver/gold foils, tissue paper, and marbleized paper,” Llisa shared. The visuals she paints of the Eames Office are eye-bogglingly good. “On the tables, there were scissors, X-acto knives, paint brushes, magnifying glasses, and rulers. She was always working directly within the constraints of the materials and testing out ideas to see what worked best in 3D models.I would love to have seen what Ray would continue to do physically and what she would switch to digitally. In today’s time, I would have liked to hear her voice identifying important issues like sustainability, education, and conservation, and then talk about how to address these challenges that we are facing today.”

“The goal for both she (and Charles) to strive for was to let the design evolve from the learning. They developed a design process to address needs and solve the problems of their day. We’re continually inspired by the fact that so many of those challenges still resonate with those that we face today. Their boundless curiosity and relentless pursuit of solving problems inspired us to include “infinite curiosity” in the name of the institute.”

If only Ray could see the mark she left on designers and the industry, and it should go without saying that she influenced her granddaughter as well. “My grandmother helped shape my outlook on design. I saw from her how design was a powerful tool to assess and solve problems. I learned from Ray and Charles about how an object can become so well designed that you forget that it was ever designed in the first place – like a top or a kite. When an object like a toy has been honed for generations, its form has been slowly perfected over time with trial and error. Also, I like seeing how similar examples of an object might have evolved differently in different parts of the world.”

Ray’s Hand aims to realign how the relationship between Ray and Charles is viewed in regards to their work. In doing so, it demonstrates Ray’s contributions to what we now view as iconic designs. The larger hope is that the exhibition will continue to broaden conversations around giving women their due credit, historically and today.

To experience “Ray’s Hand” for yourself, visit eamesinstitute.org.

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VARMBLIXT Provides the Biggest Effect With the Least Resources

“I wanted to take an unexpected approach to exploring the idea of how lighting functions within the home, and to inspire people to consider new shapes and elements which blend into and highlight different types of interior spaces in new, bold, and artistic ways,” says Rotterdam-based designer Sabine Marcelis. Her 20-piece VARMBLIXT collection is a collaboration with IKEA that includes sculptural lighting objects, serveware, rugs, and more.

Each piece of lighting is designed to interact with both direct and indirect light, and align with IKEA’s hopes of shifting the perception of it in the home. Rather than simply being functional, lighting can be emotional in that it can transform the look, feel, and atmosphere of our spaces.

The four lighting pieces in the collection will become a permanent part of IKEA’s offerings. They include the VARMBLIXT LED pendant lamp, which features curved pipes of frosted white glass, and the VARMBLIXT LED wall mirror, designed with a semi-transparent glass panel and light strip. Both are sculptural objects when turned off, and a display of light engineering when illuminated.

“At home, I have mainly indirect lights, as I love the soft effect they give. I also have a lot of art objects that double as lighting, something I love because it blurs the boundaries of function and art,” said Marcelis. “It’s really a lost opportunity if you don’t think about the appeal of a lighting element when it’s in its ‘OFF’ mode – because a lot of the time a light might not be turned on, but you still need to live with it and have it be part of the interior.”

We find it to be a true sign of a successful collaboration when the designer features the products in their own space. “I have a donut lamp in my son’s room, which he loves, and the curved line in my living room high up on one of the structural columns,” Marcelis shared with us. “I love how it highlights the connection with the ceiling. I’m planning to mount them on all the columns to really add to this architectural feature.”

A motif that can be seen throughout Marcelis’ work – the infinite doughnut – finds its place as the VARMBLIXT LED lamp that can be wall-mounted or displayed on a table. You’ll also find two serveware sizes in orange and green in the same shape, alongside a beautiful set of glassware.

Marcelis admitted that, “Just yesterday I brought home a set of the champagne glasses and made some dry-January mocktails in them. I have to say, I’m very proud of how the glassware turned out. It’s a product category I have not worked on before, and it’s so satisfying to drink from something I have designed myself and directly interact with it on such a close level.”

With a focus on warm colors, VARMBLIXT includes two rugs inspired by the setting sun. The larger of the pair, made from 100% hand-tufted wool, features a sunset-like color gradient that fades from deep orange to amber yellow. An overlapping style adds extra interest while creating the illusion of depth.

Marcelis told us that she’s really learned how to get the maximum amount of effect with the least amount of materials/resources used through VARMBLIXT – and that was her aim all along. “To not solely rely on the lusciousness of materiality, but to strip everything back to essentials and with a singular gesture make it gain its desirability. The pieces needed to have my signature, but also be anonymous enough to be able to be applied in many different types of homes. It taught me more than ever that less is more.”

To learn more about the VARMBLIXT collection, which will launch in February 2023, visit https://about.ikea.com.