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Tag: eileen gray

ClassiCon

ClassiCon

ClassiCon is a German company, based in Munich, that challenges time, presenting a design that has spanned the centuries without losing appeal and modernity; its name itself is a “classic” and “contemporary” case, highlighting its duplicity from the beginning, aspiring to offer pieces of established characters who have made the world of design history since the early 1900s such as Eileen Gray and Eckart Muthesius, but also to promote contemporary design and present examples of new design with advanced quality and shape, giving it the “classic” designation. The brand is synonymous with high quality, strong individuality and timeless aesthetics, out of passing fashions. Classicon objects are timeless pieces, combinable in any domestic or business context, with a strong personality, but outside the most fleeting trends in the world of design.

Many collaborations with young international designers, with whom the company establishes a lasting partnership that continues over the years, creating a design history linked to each individual designer. The most intense and productive partnership is certainly that with the Munich designer Konstantin Grcic, who, since the first projects with the company, has included refined references to the iconic design work of Eileen Gray: the projects of Konstantin Grcic, who later became a star world of contemporary design, I am the result of careful reasoning on ergonomics and the contemporary way of life, with cultured quotes to the masters of design in a never banal or dusty reinterpretation.

Eileen Gray’s projects are all produced and present in the Classicon catalog, which is the worldwide licensee of Aram Design Ltd: in the early 70s Eileen Gray began to collaborate with the manufacturer Zeev Aram to develop her furniture and its lamps for series production. Finally, in 1973 the designer signed a worldwide contract with Aram Design in London to bring all her projects into production for the first time. Classicon is therefore the exclusive licensee of the entire Aram collection by Eileen Gray.

Quality is a fundamental element for the company, so much so that each piece is indelibly and consecutively marked and numbered, as a concrete and visible testimony to the attention paid to the production of each individual specimen. The Classicon signature therefore guarantees the use in the production of high quality materials and methods, with compliance with all ecological requirements; the quality control of the production is very high. The logo and the progressive numbering offer the guarantee that each limited edition is an authentic replica of the original, made with the consent of the rights holders and with absolute respect for the original itself.

High quality and timeless furnishings are therefore the key points of the ClassiCon philosophy, which can boast the presence of its furnishing elements in numerous European and international design museums.

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ecart paris

Ecart

Ecart was born in Paris in 1978 from the will and foresight of Anrée Putman, who bravely decides to re-propose some forgotten designers of the 1930s such as René Herbst, Jean-Michel Frank, Pierre Chareau, Michel Dufet, Mariano Fortuny, Robert Mallet-Stevens , Eileen Gray … trying to win back the general public with some eternal masterpieces in a period, the early 1980s, where design and interior trends were taking different paths. The name already wants to be a manifesto of what you want to propose: Ecart as a gap, as a different proposal from everything that was dominating the world of design in those years.
In the mind of Putman these masterpieces could not be forgotten, the result of the design of great architects and designers and the realization of the best French and in particular Parisian craftsmen. In fact, everything started from Paris and then interested in the world, up to the United States of America, where Putman herself will take care of the famous Morgans Hotel in New York in 1984 and then of many public and private spaces.
As she often liked to say after the Americans, finally the French and then the Europeans began to love her style and her elegant and refined proposals; the works of the great French masters of the 1930s were proposed together with an always impeccable anonymous design, with colors and materials often very brave: electric blue, the famous black and white damier (almost a trademark) …
Many well-known faces and French fashion brands such as Azzedine Alaia, Balenciaga and Karl Lagerfeld relied on Putman and Ecart furnishings for their shops and ateliers, but also some politicians such as the French minister of culture Jack Lang for his office. in 1984 or finally some large institutions such as the CAPC museum of contemporary art in Bordeaux, for which Anrée Putman will design a monumental and iconic floor lamp
In Putman’s work and in the Ecart catalog, almost a reflection of her personality, the materials defined as rich and precious, such as black lacquer or chromed steel, are combined with simple and poor ones, such as cotton or natural wood, the bolder colors are put in relation with more neutral ones, more squared shapes are alternated with more sinuous lines.
The Ecart catalog is still divided into 2 parts: one dedicated to the historic French masters of architecture and interiors of the 1930s, much loved by Putman, the other to projects designed by Putman herself, such as the Crescent Moon sofa or the floor lamp Lune, or new collaborations and contemporary designers. All production: furniture, upholstery and lighting, is still made in France by the best craftsmen, while rugs, like the iconic black and white specimen by Eileen Gray, are hand-woven in Nepal.

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