Since the renewal of the curriculum in the eighties by creative director Jan Lucassen, DAE has calibrated its educational model on improving the wellbeing, ergonomics and positive psychological effects on everyday life trough design. This humanistic approach becomes evident in the names of the depart- ments Man and Leisure. Man and Identity, Man and Living, Man and Food, Man and Work etc.

I had some issues with some projects which seems to draw their value on the good that’s done for the world, rather than the intrinsic qualities of the concept, the performance or visual qualities of the end product. It’s not up to me to value of the do-good mentality. To me its important to keep questioning the reasons why I make things. But I am not a ultra social type to begin with. The design I like to do, is in the making. As such I feel acquainted with designers as Bertjan Pot and Hella Jongerius.
I worked for Susan Bijl this year and really admire the persistence she has put in the bag, the company and the smartness of her campaigns.

Work of Basketclub members: 

@chris_kabel @shigekifujishiro @rebekkaevers @claravonzweigbergk @loiswalpole @shane_schneck 

@rebeccasuncollins @esthervanschuvlenbergh @miebachsculpture @earnest_studio @dach.zephir

@wiesi_will @simone_post_ @keijiashizawadesign @studio.satel @carolebaijings @reinreitsma 

@udi_cha_one @esmehofman @Ori_shif @bertjanpot

basketclub

During lockdowns of the past 14 months Rotterdam based Adrianus Kundert and Jamie Wolfond in Toronto started Basketclub. Every month they posted an assignment on Instagram in the form of an emoji, for example a baguette or an orange. Designers from all over the world participated by weaving a basket portraying the icon of the month.

We were quite surprised how many like minded- and well known designers such as Bertjan Pot, Sebastian Herkner, Chris Kabel, Carole Bayings, Simoe Post and many others joined in and contributed to the project. Because of covid, these designers seemed to have an urge to make something different and welcomed Basketclub as a conduit of their energy. As a side effect it is interesting to witness more people getting involved in crafts, but it was not my intention to mount a platform for weaving or craftmanship at all. I believe basketry as a cultural phenomenon is outdated, but the techniques of weaving still offer many interesting options to invent new and diffe- rent objects and manners of construction. Its fun. These are the real reasons we keep the initiative going.

Making things with your own hands requires a type of concentration, that obviously differs from designing on a computer. When I started my professional career in 2016 as part of desig- ners-collective Envisions, I experimented with the combination of these two opposites to arrive at new types of transitional materials.

I started making a series of samples using digitally designed strips, which were then weaved by hand. This method proved more efficient than basic crafts. My project Ripening Rugs investigated the possibilities of evolving yarns and the application of this raw material in the industry. To be creative is great, but not completely sufficient. The creative industries somehow have to prove their relevance in the industry and market place.

label

I don’t picture myself as a new generation Marcel Wanders. My position as a designer is not that relevant. I admire Wanders’ skills as the art director of the Moooi brand. The curation of a collection of furniture and light objects by very different designers, is a remarkable achievement. Turning a label into a profitable business, especially in Holland, must have been quite hard. I come from a family of trades- and businesspeople, so I ap- preciate making money with my work. At first I tried to grow my business organically. Selling a few of my vases online per week, kept me going nicely. But that’s not how things work. You have to start a label and once you do that it makes you part of an outdated distribution network of retailers. You need to produce fifty of those vases to remain in stock.

Although my own label Oddness was rather well received at Maison et Object 2019 and almost became successful as a pioneering brand, I decided to completely annul its activities earlier this year. Working with several Dutch designers we tried to introduce industrial products that play with the beauty of random shapes, prints and textures. But design, to my experience, is not the unique driver of a working business model. To make a label succeed, you need capital to invest in stock, marketing, a sales person etc. Its been a good experience while it lasted. At only thirty years of age I don’t really mind. I can always start a flowershop.

weaving

Following the lockdown I’ve been quite busy. For the past six months I have been working with Susan Bijl on a new shop design. Also I was invited to collaborate with the crew at JongeriusLab in Berlin, preparing the exhibition ‘Woven Cosmos’ at the Gropius Bau. I feel honored because of the obvious connection to Hella Jongerius’s work. Weaving plays a significant role, as one of the oldest cultural technologies, while it is also at the root of digital code. Other than Hella, who likes to reason and explain her experimental practice, my mentality is basically hands on. I am not a writer, but feel more at ease as a maker and a visual storyteller. Its important to commu- nicate about your work of course. But on the other hand I try to enhance objects with inner meaning and hope that is self- explaining. The only thing we don’t need as a society is more meaningless things. Those are part of the reason why things are going wrong.

The Book

The Basketclub Book (312 pages) designed by Koos Breen and presented at Alcova during Salone del Mobile 2023. It includes essays about contemporary basketry by Ed van Hinte, Adrian Madlener and Lois Walpole. (currently out of sale)