Design Considered #18
Best-practice newsletter design, brutalism in London, and the birth of Art Deco...
#01 - Opening Thought
The design industry loves an anniversary—furniture ‘icons’ are reissued for their 25th, 50th, 75th, and 100th birthdays, and landmark designers get similar tributes (even death anniversaries). Yet, looking at next year’s exhibition schedule, a major centenary is flying under the radar. The 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris—a showcase of European pavilions designed to highlight creative and industrial prowess—was a defining moment in design history. It was literally the birthplace of the term ‘Art Deco.’
Some elements, like the Exoticism Pavilion (reflecting colonial-era fascination with non-European cultures), have aged badly. But bold ideas in design and architecture emerged, such as Robert Mallet-Stevens’ Garden of Modern Housing, featuring Jan and Joël Martel’s wonderful cubist trees (pictured). Gio Ponti, Josef Hoffmann, and Le Corbusier made ground-breaking contributions to the event, and exhibiting companies like Van Cleef & Arpels, Svenskt Tenn, and J&L Lobmeyr remain highly coveted today.
The exposition celebrated optimism, artistry, and the merging of global influences with modern production techniques—something the design industry should continue to strive toward 100 years later.
#02 - Non Noisy Newsletters
My mood was recently buoyed when I overheard someone predicting a renaissance in print media, lamenting how social media is a noisy mess of gimmicky content and that they receive so many newsletters now that they don't bother to read any of them. Then I remembered that despite being a print lover, I also dispatch a fortnightly newsletter. I guess I'm guilty of adding to the inbox clutter of people like the one I was eavesdropping upon.
Those of you working in communications, running your own business, or generally trying to share a message with your network will likely agree when I say there is still room for newsletters. A newsletter provides a direct and intimate way to share your story with your growing audience. However, no matter how great your story is, good design should always be the quiet hero that helps your efforts enjoy cut-through.
I say "quiet"' because an engaging newsletter should deliver a lot with little - bells and whistles should be minimised. There's no room for film, and animated gifs can create not-ideal loading times (and often feel clunky). For success, the visual tone of your newsletter should align with your written content, enhancing the narrative rather than distracting from it. Graphic devices like illustrations should gently reinforce your brand's own tone of voice, as should the style of photography you choose.
Attention is fleeting when it comes to digital reading, so your newsletter should be easy to navigate, with a clear hierarchy that guides the reader's eye - elegant dividers can signal narrative transitions and make the content digestible at a glance. Typography should always be functional, not fancy - as it must work on myriad devices and email servers. On that point, remember to design for dark mode - many people (estimates say 34%) use it these days for email.
Hopefully, this helps. I've learned many of these lessons the hard way. Today, as storytelling booms on this now-pretty-traditional platform (email was invented half a century ago), let's include good design in the equation.
#03 - Design Selection
Christmas shopping season has arrived, and while only the best behaved might get a sumptuous new sofa, here's a list of designs worth giving (or just having) this year. Based on the original 1962 design, Miguel Milá's (1) Cestita Alubat lamp was launched five years ago as a robust aluminum-framed lighting solution for indoors and outdoors. Santa & Cole recently updated the piece in tasteful orange and green tones. Equally discerning in colour and texture, John Pawson's collaboration with the Mongolian cashmere brand Oyuna offers a collection of five throws. The duotone design of the (2) ‘Crossing Throw in Forest & Ocean’ reflects "the latent architectural narrative of a walkway across the water."
Design Miami is taking place in US today and those there should check out Swiss brand USM’s Talk Space. Talks guests can sit comfortably on the (3) Popo Chair from LA-based Willett, a glossy lacquered piece made in various colours. Crafted in Goseong, Yong Tae Park's (4) porcelain vases are imbued with nature's raw beauty. Using salvaged materials like shells and driftwood from the coast, Park embraces natural imperfections in his piece. The vase’s nuanced variations of white are achieved through glazing and firing a material mix that includes this coastal debris - lending each piece a quietly unique character.
Launched last night in London via Danish furniture masters Fredericia and internationally renowned British designer Jasper Morrison, the Jota Lounge Collection, which includes this (5) three-seater sofa, adds new dimensions to the iconic formal language of mid-century legend Børge Mogensen. "It unites softer lines and colours with the stringent conceptual approach that characterises the originals," says Morrison. Finally, Portugal is an often underrated hub for furniture design. Still, companies like architecture and design practice Imcollective continue to show the creative prowess of design talent here matches the known quality of the country's manufacturers. The Porto-based firm's (6) Stool Ø and Stool (pictured left to right) are solidly designed, solid wood pieces whose clean aesthetic works well in almost any environment.
#04 - For Your Consideration
The work of enterprising Danish architect Bjarke Ingels tends to spark debate within the profession. Yet, there's little doubt his creativity and determination have laid an impressive path for those looking to have an impact in the field to follow. His ideas and inspirations will unfold in print form over 2025 as he takes over the guest editorship of esteemed Italian publication Domus; here's his ambitious manifesto.
A similarly expansive mindset to creativity and capturing the cultural zeitgeist can be seen in the growing brand universe of Ronnie Fieg's New York-based label, Kith. Good design is never too far out of the equation in this regard—the brand's recent customisation of a 1981 BMW E26 and a campaign film featuring Ken Watanabe enjoying a dreamy Tokyo residence show the inspiring breadth of Kith's influences.
Continuing the interplay between design and fashion, the ultimately timeless work of Jil Sander's career has come together in a new title, Jil Sander by Jil Sander. It was carefully created by the now-81-year-old designer and legendary Dutch graphic designer Irma Boom. Wise words from Sander can be read in an interview online here.
Doing the festive season with taste (and with substance), Snøhetta, the Norwegian architecture and design firm, has launched a thoughtfully constructed gingerbread house in collaboration with the Norwegian Refugee Council (NRC). The compelling design features five repeated, hollow frames, collectively forming a void symbolising a 'home that is no more.' All proceeds support NRC's efforts to provide shelter for those in need. You can buy the design template here.
Finally, on the other side of the globe, design enthusiasts in Sydney should explore the 'How We Live' pop-up shop, which remains open until December 20. Initiated by Japan's Kokuyo company, the concept pop-up offers 330 pieces, including original stationery, small furniture, and lifestyle goods from brands like Kokuyo brands Actus and Think of Things, alongside works from Postalco, Kigi, Tecta, and Culti Milano.
#05 - Through The Lens
London looks lovely in December, with its high streets glittering under elaborate decorative lights and its old street signage lit up charmingly. It's also a great time of year to view some of its more unornamented design highlights—the city's abundant brutalist architecture, which sits moodily against bleak grey winter skies. German-born, London-based photographer Heiko Prigge is a connoisseur in shooting the blocky modernist and brutalist towers, which rose across the city after the Second World War and well into the 1970s as the city sought to rebuild and address housing shortages.
Often spotting a site on a ride to a photoshoot, Prigge makes an effort to return to these "giant sculptures" and photograph them for various personal projects and exhibitions (for one project, he beautifully re-shot London building images from Axel Hütte). Such was the case when he biked by Sulkin House in East London. Designed by Denys Lasdun and completed in 1958, Sulkin House strikes the eye of passersby with its 'butterfly' layout, where two wings of maisonettes extend from a central service core. "All I need in architecture is these straight lines," Prigge explains of his attraction to the brutalist form. "The sculptural qualities of these buildings really stand out because of the design—they can be simple and complex simultaneously." In this shot—timeless save for the modern cars—Prigge employs black-and-white to accentuate architectural lines, emphasising the building's enduring beauty and impressive presence.
I walk past Sulkin House on trips to the shops and would never have thought to learn more about it – what a treat for my next stroll!