Latest news with #Vitra
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Vogue
5 days ago
- Business
- Vogue
You Know Rimowa's Suitcases—Now, Get Ready for Their Furniture
There's no official list of status symbols. But if there was, Rimowa's original cabin carry-on would be on it—the aluminum suitcase is now a mainstay of first class cabins all around the world. How it became that is a business study unto itself (Rimowa receiving a majority investment from LVMH in 2016 probably had a lot to do with it) however, it's inarguable that it is: Vogue even asked three tastemakers to walk us through how they packed their Rimowa for the August 2023 issue. And now, the luggage brand is ready to move beyond the overhead bin—and into your living room. Today, Rimowa debuts a limited edition collection with Vitra at Art Basel. Consisting of two pieces—a stool and a toolbox—it marks the first time they've ventured fully into the decor space. (Previously, they've created one-of-kind commissions, but their Vitra products will be available for online consumer purchase: The stool will be released in a limited edition of 1000 pieces, and they will produce 100 units of the toolbox.)
Tatler Asia
5 days ago
- Entertainment
- Tatler Asia
Where movement and home meet: The new Rimowa Vitra 2025 collection
Above The Aluminium Stool from Rimowa Vitra 2025 Above The Aluminium Stool comes with a detachable cushion, available in three different colours The Aluminium Toolbox is not a completely new product—its design is inspired by the Vitra Toolbox designed by Arik Levy in 2010 and made of recycled plastic. Now the Toolbox is recast in Rimowa's signature aluminium and lined in recycled fabric from Vitra. All aluminium components of the collaboration are produced at Rimowa's historic headquarters in Cologne, while the upholstered textile elements from Vitra are created at the Vitra Campus in Weil am Rhein. Above The Aluminium Toolbox from Rimowa Vitra 2025 The Aluminium Stool is available in three colour options: silver and ice, silver and papyrus and silver and emerald, and will be released as a limited edition of just 1,000 pieces, retailing at €2,200. The Aluminium Toolbox is available in the same three colour options, and will be released as a limited edition of 100 pieces, retailing at €550. Above The Aluminium Stool at the Rimowa headquarters in Cologne Above The Aluminium Stool is upholstered with recycled fabric from Vitra The Rimowa Vitra 2025 collection will be available exclusively in Europe via and worldwide from Limited edition sticker sets will also be available to purchase on and select RIMOWA stores. To celebrate the launch of this collaboration, a special installation will open at the Fire Station by Zaha Hadid at Vitra Campus in Weil am Rhein, until June 27th, 2025. NOW READ Rosé, Hamilton Jay Chou and the common points in their journeys of self-definition in the Rimowa campaign 10 designer home brands going the eco-conscious route Takashi Murakami on his Louis Vuitton collabs, legacy and 'avoiding boredom' at all costs
Hypebeast
6 days ago
- Automotive
- Hypebeast
RIMOWA Teams up With Vitra For Limited-Edition Collection
RIMOWAandVitrahave revealed a limited-edition collection made up of two pieces: a mobile stool, and a toolbox. Marking the first collaboration between the German luggage manufacturer and Swiss furniture brand, the two pieces are inspired by the 'rhythm of modern life', and are designed to be multifunctional, while also paying homage to both brands' work with aluminium. They're also designed to be mobile, especially in the case of the stool, which is set upon the brand's Multiwheel system. The outer shell is distinctly RIMOWA, and is crafted iconic grooved aluminium, while the interior is typically Vitra, and is upholstered with fabric and organised into storage sections. An upholstered pad can be added to the top, allowing the movable storage system to turn into a comfy perch. 'Vitra enters very few collaborations hence the brands we collaborate with has to resonate with our values, our design approach and our aesthetics – there has to be an obvious common ground,' Christian Grosen Ramussen, Chief Design Officer at Vitra, told Hypebeast. 'That said differences are also crucial since that's what creates the spark, the surprise and the new. In a collaboration there has to be synergies for the brands involved. 1 plus 1 must equal 3 or even more. Otherwise, it doesn't make sense.' The toolbox is a riff on the Vitra Toolbox designed by Arik Levy in 2010, but instead of being formed from recylced plastic (as standard), it comes in RIMOWA's signature anodized aluminium. Again, as a nod to Vitra's upholstery expertise, the compartments are lined with recycled fabric. The collaboration doesn't end at the design of the pieces: both are jointly manufactured at RIMOWA and Vitra's factories in Cologne and Weil am Rhein respectively. 'Vitra and RIMOWA are two iconic brands known for their material expertise and distinctive design,' adds RIMOWA CEO Hugues Bonnet-Masimbert. 'Sharing a passion for durability and craftsmanship, this collaboration perfectly embodies the essence of 'design' – where innovation and aesthetics come together.' The Aluminium Stool and the Aluminium Toolbox will be launching on June 18th, 2025, accompanied by an installation on the Vitra Campus. The Aluminium Stool will retail at €2,200 with 1000 pieces available, while the Aluminium Toolbox will be priced at €550, and limited to 100 pieces. Both will be available exclusively in Europe via and at selected flagships worldwide.
Tatler Asia
15-05-2025
- Entertainment
- Tatler Asia
Y2K aesthetic revival: Decoding the millennium design trend making a comeback
2. Philippe Starck Louis Ghost Chair for Kartell Above A rainbow of transparent Philippe Starck Louis Ghost armchairs, including pink, yellow, black, blue, green and clear versions, showcasing versatile modern dining chair options for contemporary interiors This iconic armchair masterfully blended historical Louis XV style with futuristic Y2K materials. Created by Philippe Starck for Kartell, the 'Louis Ghost' chair is made from transparent or colored injection-moulded polycarbonate, giving it an ethereal, almost invisible quality. Above Designer Philippe Starck's transparent polycarbonate Ghost dining chairs are styled with a mid-century modern table and natural plant decor Above Philippe Starck's Louis Ghost armchair for Kartell is made of crystal clear polycarbonate. It is a millennium design piece that revolutionised single-mould production and became a staple of the Y2K interior style revival Its transparency was a nod to the era's fascination with new plastics and a playful, modern take on classic forms, becoming a daring example of single-mould production and a staple in contemporary interiors seeking a touch of Y2K's innovative spirit. Don't miss: 7 family-led design brands you should know 3. Ron Arad Tom Vac Chair for Vitra Above Ron Arad Tom Vac Chair for Vitra with wave-like organic shell, stackable polypropylene construction Ron Arad's "Tom Vac" chair, developed with Vitra, evolved from a 1997 sculptural installation into a mass-produced icon of Y2K design. Its distinctive wave-like, organic polypropylene shell provided both comfort and a dynamic visual. Originally conceived in vacuum-formed aluminium, the production version offered an inexpensive yet stylish seating solution suitable for indoors and outdoors, embodying the Y2K interest in bringing avant-garde, flexible forms to a broader audience. Read more: 7 iconic cantilever chairs that shaped modern furniture 4. Marc Newson Nimrod Chair for Magis Above Marc Newson Nimrod Chair for Magis with low-slung enveloping form, rotational-moulded polyethylene base and vibrant upholstery showcasing retro-futurist millennium aesthetic revival (Photo: Magis) Marc Newson, a highly influential designer of the Y2K period, created the Nimrod chair for Magis, showcasing his signature biomorphic and futuristic style. Characterised by its low-slung, enveloping shape, often realised in rotational-moulded polyethylene with contrasting upholstered elements, the Nimrod chair has a distinct space-age influence. This piece resonated strongly with Y2K's retro-futurist tendencies, offering a comfortable and visually striking statement that captured the era's love for smooth, flowing lines and innovative materials. See also: What goes into great hotel design? 5. Zaha Hadid Moon System sofa for B&B Italia Above Zaha Hadid Moon System Sofa for B&B Italia has a sculptural fluid form, monolithic curves and an integrated structure embodying late millennium digital design innovation (Photo: B&B Italia) Designed by the late architect Zaha Hadid, the Moon System sofa for B&B Italia is a powerful example of Y2K's later-stage fascination with sculptural, fluid, and monolithic forms. Appearing as if sculpted from a single block, its dynamic, curvilinear shape embodies parametric design principles. With its integrated backrest, seat, and armrest, this sofa-sculpture challenged traditional sofa typology and reflected the era's embrace of complex geometries made possible by digital design tools. Don't miss: Bordallo Pinheiro and Esporão's Olival collection: Where art meets olive oil 6. Alessi Anna G corkscrew by Alessandro Mendini Above Alessi Anna G Corkscrew by Alessandro Mendini is a chrome-plated zamak wine opener with an anthropomorphic smiling figure (Photo: Alessi) Above Alessi Anna G Corkscrew by Alessandro Mendini is a cult object embodying the millennium aesthetic revival's playful approach to household items (Photo: Alessi) While designed slightly before the Y2K boom, Alessandro Mendini's Anna G corkscrew for Alessi became a cult object whose popularity and playful spirit were quintessential to the era. Its smiling, anthropomorphic figure, crafted from chrome-plated zamak, brought personality and joy to a utilitarian household item. This approach of infusing everyday objects with wit and character perfectly aligned with the Y2K sensibility, making Anna G a beloved and recognisable icon in many homes. Read more: 7 Chic Cutlery Sets with Design Pedigree Above Marc Newson Dish Doctor for Magis is a Y2K design classic with a glossy green biomorphic form and innovative draining system (Photo: Magis) Marc Newson's Dish Doctor for Magis is a prime example of high design meeting everyday utility, a hallmark of the Y2K era's playful approach to household objects. Made from injection-moulded polypropylene, this dish drainer features Newson's signature biomorphic, smooth flowing lines and was available in vibrant, often translucent, colours. Its chic and functional design, which even considered the packaging, made it an instant hit, embodying the Y2K desire for aesthetically pleasing yet practical items that brought a sense of fun and modernity into the kitchen. NOW READ How 'interiors disruptor' Alex Alonso embraces colourful maximalism in summer homes Le Creuset at 100: How enamelled cast iron cookware conquered culinary culture 7 distinctive mid-century modern hotels in Asia for design lovers
New York Times
09-05-2025
- Business
- New York Times
A Panorama of New Designs
Swiss Furniture Company Finds New Manhattan Home Vitra has been a nomad in New York City, occupying three different spaces since leaving its lower Ninth Avenue showroom almost a decade ago. Those wanderings will end this week when the 75-year-old Swiss furniture company unveils its new, eye-popping Manhattan home: a Chinatown loft with a huge (16-by-65-foot) wall of windows looking out to the gateway of the Manhattan Bridge. Nora Fehlbaum, the granddaughter of Vitra's founders, Willi and Erika Fehlbaum, and the company's current chief executive, said she was seeking a 'similar vibe' to that of the Meatpacking district, circa 2003, when looking for a space. 'Something not so obvious. Something to be discovered. Something that feels really New York but also a bit obscure,' she said. This showroom, which formerly housed the Jing Fong dim sum restaurant, indeed feels like a discovery. It's on the third floor, and the elevator is in a vestibule in the middle of an interior alleyway where many tenants are restaurants (most notably Joe's Shanghai). Ms. Fehlbaum recalled she felt 'overwhelmed' when she first visited the space, as it is more than 6,000 square feet, with soaring ceilings. She enlisted the architect Serge Drouin (a grandson of the French designer Jean Prouvé) to work with Vitra's in-house design team to create a flexible environment. It is, naturally, quite minimal, with curtains suspended from rails in lieu of walls, a long bar that doubles as a communal table and some vibrant blue tiles from the recently dismantled Edgar J. Kaufmann Conference Center, designed by Alvar Aalto. The furniture offerings have been accessorized with New York-centric touches including a cast-iron pigeon bought locally and decorative pillows by John Sohn, a Brooklyn designer. The showroom is at 46 Bowery, third floor; — RIMA SUQI A Mansion Museum Celebrates Its Maker The protean architect and tastemaker Alexander Jackson Davis catered to the 19th century's ambitious American arts patrons with Americanized versions of turrets and domes from European castles. 'Alexander Jackson Davis: Designer of Dreams,' an exhibition surveying his buildings and objects, opens May 23 at Lyndhurst, a marble mansion-turned-museum in Tarrytown, N.Y. Mr. Davis designed Lyndhurst, on 67 sloping acres at the Hudson River's banks, from the 1830s to the 1860s. It was one of dozens of private and public buildings that he ornamented with crenellations, faceted bay windows, quatrefoils, gargoyles and spiky finials. He drew inspiration from centuries-old Gothic architecture that he read about in novels and saw in book illustrations. (He spent most of his life in the New York City vicinity and never traveled overseas.) He outfitted rooms with his own inventive furniture designs, including chairs with backs formed from openwork petals and cloven hoofs on flared legs. For his newly rich customers, the commissions publicly attested to their worldliness. In tumultuous antebellum times, 'there was an insecurity about being an American,' said David Scott Parker, an architect and Davis expert and collector who is a major lender to the Lyndhurst show. The curatorial team has reunited Mr. Davis's sketches with the actual objects and vintage photos of their first homes. Lyndhurst still has almost all of its original Davis pieces and is among the few of his buildings that are publicly accessible. Howard Zar, Lyndhurst's executive director, said that by synthesizing so much eclectic source material, Davis was a forerunner of contemporary artists: 'Appropriation and sampling, we think that's something new, but it's been going on forever.' The show will be on view through Sept. 23; — EVE M. KAHN A Supportive Perch From Ralph Pucci 'It feels like a UFO that hasn't landed yet,' observed Kevin Walz of the Numino love seat, one of five upholstered pieces in a new collection he's launching later this month at the Manhattan design and art gallery Ralph Pucci International. The seating began as a personal project for the 75-year-old designer and artist, who suffered from back problems and found 'Western' furniture not supportive. At a glance, it seems Numino's low silhouette would be guilty of the same charge. But Mr. Walz insisted, 'They are supportive, not squishy, so easy to get in and out of.' The Numino family also includes three types of tables: side, coffee and console (the last in two sizes). Unlike their low-slung, opaque siblings, the tables are leggy and transparent. 'They have a service quality, with a lip to catch spills, like the most elegant TV trays, popular in the 1950s,' noted Mr. Walz of the design. Made from cast resin and stainless steel, the tables are produced in the same Ralph Pucci workroom in which the company's artful mannequins were once manufactured. The pieces will be introduced on May 19 at 44 West 18th Street; — RIMA SUQI At the Triennale di Milano, a Focus on Inequality For over a century now, the Triennale di Milano has been one of the headier — if also one of the more confounding — fixtures of the global cultural calendar. Previous editions of the irregular, sometimes-more-like-quadrennial art and design festival have pioneered experimental projects, including an entire new neighborhood in Milan (in 1947), and served as early platforms for future luminaries like the Italian architect Aldo Rossi (in 1973). Opening on Tuesday, the show's 24th installment promises to be no less varied and ambitious: Under the heading 'Inequalities,' this triennial will feature an array of subexhibitions including a spotlight on affordable housing curated by the Norman Foster Foundation; a survey exploring the intersection of bacteria and buildings, 'emphasizing how they have been deeply intertwined from Neolithic times to today'; and a selection of historical portraiture of the Milanese upper crust dating from the 17th to the 20th centuries. Participants from over 40 countries will be on hand at the Triennale's Palazzo dell'Arte, a stately building in Milan's central park, to explore inequity in all its guises. Through the summer and fall, a full calendar of events and talks (an immersive musical performance, a roundtable on climate change) will continue the investigation, trying to locate the rips in our tattered social fabric and figure out what, exactly, can be done to mend them. On view through Nov. 9; — IAN VOLNER
