Kara Mann: The Darker Side of Design in 2010

Ok, why haven't I blogged Kara Mann yet?! I mean, our company represents her, and I'm all about her work with a passion!

Championing the look of "The New Victorians," AKA "Steampunkians" Kara Mann's work is dark, atmospheric, smoky, layered and above all RELEVANT. I don't think a 2010 design forecast for home decor can be complete without a Kara Mann mention.

A self-described "biker chick at fashion week," Kara merges her background in fashion, art and design to create gutsy interiors that perfectly mix both modern and traditional elements. Think Vivienne Westwood meets Mark Romanek

Since opening her namesake firm, Kara Mann Design (KMD) in 2005, Kara has been recognized by InStyle as an ‘of-the-moment’ designer, and Vogue has recently appointed her as a member of ‘The Vogue 100,’ a group of influential decision makers and opinion leaders known for their distinctive taste in fashion and culture.

-S

Kara Mann: The Darker Side of Design in 2010

Ok, why haven't I blogged Kara Mann yet?! I mean, our company represents her, and I'm all about her work with a passion!

Championing the look of "The New Victorians," AKA "Steampunkians" Kara Mann's work is dark, atmospheric, smoky, layered and above all RELEVANT. I don't think a 2010 design forecast for home decor can be complete without a Kara Mann mention.

A self-described "biker chick at fashion week," Kara merges her background in fashion, art and design to create gutsy interiors that perfectly mix both modern and traditional elements. Think Vivienne Westwood meets Mark Romanek

Since opening her namesake firm, Kara Mann Design (KMD) in 2005, Kara has been recognized by InStyle as an ‘of-the-moment’ designer, and Vogue has recently appointed her as a member of ‘The Vogue 100,’ a group of influential decision makers and opinion leaders known for their distinctive taste in fashion and culture.

-S

Enlightened: A Conversation with Kevin Kolanowski

Los Angeles based lighting designer, Kevin Kolanowski, doesn't want to be known for "creating lamps for someone to read a book by." Launching Fuse Lighting in 2000, Kevin came on the scene as an artist with a distinct story to tell through sculpture and light. In the crowded marketplace that is home décor, I have to say that Kevin’s work appeals to me because it’s not trying to be something: some trend, some genre, or some homage to the past. The collections are bold yet edited, modern yet warm, and authentically chic.

I met Kevin just about a year ago at Westweek at the PDC, and have wanted to cover him on the blog ever since. Last week, we finally sat down to lunch and had a great conversation about his beginnings as a lighting designer, the business of design, the power of art, and the influence of L.A. as the backdrop for all of it:

SY: I understand that you’re a former interior designer turned lighting designer. Why did you make the switch?

KK: “11 years ago, I fabricated a reproduction of an antique wall sconce for a client’s home. The piece turned out to be a real success, and I found the experience of creating the sconce to be quite fulfilling. At that moment, I realized that lighting is sculpture, and it was allowing me to be an artist more than interior design.

SY: The marketplace for design is a tricky playing field. I’m always interested in knowing how a product designer gets their first account, especially in successful high-end showrooms.

KK: “I’ve known Thomas Lavin from the days when he was a top sales rep at Kneedler-Fauchère. When he opened his own boutique in the same year that I introduced my line, Thomas approached me and asked to carry my first collection. In the beginning, he was my strongest supporter… he really believed in my work from the get-go.”

SY: What kind of lighting designer are you? What’s your goal when you’re designing a lamp?

KK: “I want my pieces to play with light in a way that always makes you look good. I’m not creating lamps for someone to read a book by […] I’m more interested in making lamps that create a mood.”

SY: I hear that your pieces are also anti-depressants?

KK: “Some of my pieces are made with semi-precious stones such as Citrine, Amethyst and Carnelian, and many clients do tell me that they feel positive energy from them.”

SY: You do so many types of lighting, from small table lamps to oversized chandeliers. What’s your favorite to design?

KK: “I love sconces. They have this elegance about them. They have a way of making a room feel special.”

SY: What’s your stance on being an artist in L.A.? Some people say that L.A. is N.Y. lying down, and I’ve even heard that L.A. should just stick to sitcoms. Is it harder to prove yourself as a designer from L.A.?

KK: “I was raised in Chicago, and left because I didn’t fit in with the scene there. I can say that I found L.A. to be more accepting of an upcoming designer than let’s say N.Y."

SY: As a native Angelino, I can’t tell you how many times I’ve come across a successful L.A. based designer who’s originally a mid-westerner. What is it about the mid-west?

KK: “It’s funny, I didn’t fit in with the conservative scene in the mid-west, but it’s because of the mid-western values I was raised with that I was able to have success in L.A. We believe in working hard, and that's a desirable quality employers in L.A. are looking for in the job market. Also, the more modest aesthetic of the mid-west helps me to edit my pieces, and I find that to be a great tool in designing."

SY: How does a young artist push fear aside and confidently move forward with his/her work?”

KK: “You must have a story. Right before I created my line, I remember thinking… I’m gonna tell MY story! If you have a story to tell, your art will have an audience.”

SY: Who do you look up to in lighting design?

KK: "Ingo Maurer"

SY: What’s to come for Fuse Lighting in 2010?

KK: "Our line will go across the pond with an opening in London. I’m also looking to expand with a line of exterior lighting too."

SY: Last question. I imagine that the home of a lighting designer would be all walls of glass and exposed with tons of light, right?

KK: “Actually, my home is pretty moody as far as light goes."

Enlightened: A Conversation with Kevin Kolanowski

Los Angeles based lighting designer, Kevin Kolanowski, doesn't want to be known for "creating lamps for someone to read a book by." Launching Fuse Lighting in 2000, Kevin came on the scene as an artist with a distinct story to tell through sculpture and light. In the crowded marketplace that is home décor, I have to say that Kevin’s work appeals to me because it’s not trying to be something: some trend, some genre, or some homage to the past. The collections are bold yet edited, modern yet warm, and authentically chic.

I met Kevin just about a year ago at Westweek at the PDC, and have wanted to cover him on the blog ever since. Last week, we finally sat down to lunch and had a great conversation about his beginnings as a lighting designer, the business of design, the power of art, and the influence of L.A. as the backdrop for all of it:

SY: I understand that you’re a former interior designer turned lighting designer. Why did you make the switch?

KK: “11 years ago, I fabricated a reproduction of an antique wall sconce for a client’s home. The piece turned out to be a real success, and I found the experience of creating the sconce to be quite fulfilling. At that moment, I realized that lighting is sculpture, and it was allowing me to be an artist more than interior design.

SY: The marketplace for design is a tricky playing field. I’m always interested in knowing how a product designer gets their first account, especially in successful high-end showrooms.

KK: “I’ve known Thomas Lavin from the days when he was a top sales rep at Kneedler-Fauchère. When he opened his own boutique in the same year that I introduced my line, Thomas approached me and asked to carry my first collection. In the beginning, he was my strongest supporter… he really believed in my work from the get-go.”

SY: What kind of lighting designer are you? What’s your goal when you’re designing a lamp?

KK: “I want my pieces to play with light in a way that always makes you look good. I’m not creating lamps for someone to read a book by […] I’m more interested in making lamps that create a mood.”

SY: I hear that your pieces are also anti-depressants?

KK: “Some of my pieces are made with semi-precious stones such as Citrine, Amethyst and Carnelian, and many clients do tell me that they feel positive energy from them.”

SY: You do so many types of lighting, from small table lamps to oversized chandeliers. What’s your favorite to design?

KK: “I love sconces. They have this elegance about them. They have a way of making a room feel special.”

SY: What’s your stance on being an artist in L.A.? Some people say that L.A. is N.Y. lying down, and I’ve even heard that L.A. should just stick to sitcoms. Is it harder to prove yourself as a designer from L.A.?

KK: “I was raised in Chicago, and left because I didn’t fit in with the scene there. I can say that I found L.A. to be more accepting of an upcoming designer than let’s say N.Y."

SY: As a native Angelino, I can’t tell you how many times I’ve come across a successful L.A. based designer who’s originally a mid-westerner. What is it about the mid-west?

KK: “It’s funny, I didn’t fit in with the conservative scene in the mid-west, but it’s because of the mid-western values I was raised with that I was able to have success in L.A. We believe in working hard, and that's a desirable quality employers in L.A. are looking for in the job market. Also, the more modest aesthetic of the mid-west helps me to edit my pieces, and I find that to be a great tool in designing."

SY: How does a young artist push fear aside and confidently move forward with his/her work?”

KK: “You must have a story. Right before I created my line, I remember thinking… I’m gonna tell MY story! If you have a story to tell, your art will have an audience.”

SY: Who do you look up to in lighting design?

KK: "Ingo Maurer"

SY: What’s to come for Fuse Lighting in 2010?

KK: "Our line will go across the pond with an opening in London. I’m also looking to expand with a line of exterior lighting too."

SY: Last question. I imagine that the home of a lighting designer would be all walls of glass and exposed with tons of light, right?

KK: “Actually, my home is pretty moody as far as light goes."

Beautiful Autumn

Ed Ruscha’s visual interpretation of autumn.

Beautiful Autumn

Ed Ruscha’s visual interpretation of autumn.

The Dishes Are Done

(Bison Kintsugi technique)


(Tectonic Repair technique)

Some readers of this blog may remember an entry I posted earlier this year on the art of Wabi-Sabi: The Japanese concept of "imperfect beauty," ... an embrace of imperfections, to say the least. Well, today I came across an artist by the name of Lotte Dekker, who is taking this concept to another level!

Lotte Dekker developed a new technique for repairing porcelain based on kintsugi (literally golden joinery in Japanese), a 15th century Japanese technique that repairs porcelain with gold leafing. It became so popular during its peak that people deliberately broke their own pottery so they also could have it "repaired."

Dekker's technique, called "Bison Kintsugi," is kintsugi in spirit, but instead uses modern-day Bison glue and inexpensive gold powder to achieve similar results. Dekker also another technique she calls "Tectonic Repair," using a kneadable glue that widens and essentially reshapes the cracks. By reshaping the crack, instead of denying it, the object is allowed to become a new form altogether. And may I add that this technique is highly green, which only adds to the relevance of incorporating the concept in our design solutions today.

A fascination for challenging aesthetics continues...

-S