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Ottawa Citizen
4 days ago
- Lifestyle
- Ottawa Citizen
The desert inspires biophilic design
Article content Creative expression, personal well-being, biophilic design and future forward are the four overarching trends redefining the design industry. Article content 'But these four big considerations don't live in a silo,' Danielle DeBoe Harper, trend forecaster and creative strategist for consumer faucet brand Moen, says of the trends identified in her annual report. Entitled Where Past Meets Future, it's largely based on two design shows: Milan's Salone del Mobile and Maison & Objet in Paris. Article content Article content Article content 'They really are more like a Venn diagram so at the core of all four of these trends is a holistic approach to design that values individuality, well-being, environmental consciousness and forward-thinking innovation and we call this 'home holistic wellness,'' she says. Article content This trend is about 'uniqueness' and 'differentiating yourself from others or expressing yourself,' says DeBoe Harper. One way to do that is by making a statement, she notes, pointing to a lighting show in Milan that featured predominantly statement lighting. Article content The trend was also reflected in mirrors. 'It seems like a nary a single rectangular wooden framed mirror could be found anywhere in Milan or Paris this year. All the mirrors were either amorphic shapes or upholstered in fabric or lit up or a wave pattern. There's some sort of novelty.' Article content Article content Bold minimalism. 'In past years, we called a similar trend 'minimalist maximalism' or 'maximal minimalism,'' she says. Bold minimalism is a similar concept in which everything is streamlined but 'dialed up' through such techniques as the use of a bold saturated statement colour or statement colour blocking. Article content Maximalism, craftsmanship. Maximalism is brought to life this year through era layering. Surrealism, meanwhile, is 'imaginative and expressive,' DeBoe Harper says, pointing to a chair that looks like a large mouth with arms. Finally, craftsmanship highlights a growing demand for authenticity, quality and even sustainability in interior design. 'Designers showcased traditional artisan techniques like handweaving, carving, pottery – really enriching contemporary designs with a sense of history.'
Toronto Sun
08-08-2025
- Lifestyle
- Toronto Sun
'Personal well-being' takes centre stage
Danielle DeBoe Harper, trend forecaster and creative strategist for Moen says that at the core of all these new trends is "a holistic approach to design that values individuality, well-being, environmental consciousness and forward-thinking innovation." PHOTO SUPPLIED BY MOEN Reviews and recommendations are unbiased and products are independently selected. Postmedia may earn an affiliate commission from purchases made through links on this page. Moen survey taps four emerging design trends This advertisement has not loaded yet, but your article continues below. THIS CONTENT IS RESERVED FOR SUBSCRIBERS ONLY Subscribe now to read the latest news in your city and across Canada. Unlimited online access to articles from across Canada with one account. Get exclusive access to the Toronto Sun ePaper, an electronic replica of the print edition that you can share, download and comment on. Enjoy insights and behind-the-scenes analysis from our award-winning journalists. Support local journalists and the next generation of journalists. Daily puzzles including the New York Times Crossword. SUBSCRIBE TO UNLOCK MORE ARTICLES Subscribe now to read the latest news in your city and across Canada. Unlimited online access to articles from across Canada with one account. Get exclusive access to the Toronto Sun ePaper, an electronic replica of the print edition that you can share, download and comment on. Enjoy insights and behind-the-scenes analysis from our award-winning journalists. Support local journalists and the next generation of journalists. Daily puzzles including the New York Times Crossword. REGISTER / SIGN IN TO UNLOCK MORE ARTICLES Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account. Share your thoughts and join the conversation in the comments. Enjoy additional articles per month. Get email updates from your favourite authors. THIS ARTICLE IS FREE TO READ REGISTER TO UNLOCK. Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account Share your thoughts and join the conversation in the comments Enjoy additional articles per month Get email updates from your favourite authors Don't have an account? Create Account Creative expression, personal well-being, biophilic design and future forward are the four overarching trends redefining the design industry. 'But these four big considerations don't live in a silo,' Danielle DeBoe Harper, trend forecaster and creative strategist for consumer faucet brand Moen, says of the trends identified in her annual report. Entitled Where Past Meets Future, it's largely based on two design shows: Milan's Salone del Mobile and Maison & Objet in Paris. 'They really are more like a Venn diagram so at the core of all four of these trends is a holistic approach to design that values individuality, well-being, environmental consciousness and forward-thinking innovation and we call this 'home holistic wellness,'' she says. This advertisement has not loaded yet, but your article continues below. TREND ONE: CREATIVE EXPRESSION This trend is about 'uniqueness' and 'differentiating yourself from others or expressing yourself,' says DeBoe Harper. One way to do that is by making a statement, she notes, pointing to a lighting show in Milan that featured predominantly statement lighting. The trend was also reflected in mirrors. 'It seems like a nary a single rectangular wooden framed mirror could be found anywhere in Milan or Paris this year. All the mirrors were either amorphic shapes or upholstered in fabric or lit up or a wave pattern. There's some sort of novelty.' Bold minimalism. 'In past years, we called a similar trend 'minimalist maximalism' or 'maximal minimalism,'' she says. Bold minimalism is a similar concept in which everything is streamlined but 'dialed up' through such techniques as the use of a bold saturated statement colour or statement colour blocking. Your noon-hour look at what's happening in Toronto and beyond. By signing up you consent to receive the above newsletter from Postmedia Network Inc. Please try again This advertisement has not loaded yet, but your article continues below. Maximalism, craftsmanship. Maximalism is brought to life this year through era layering. Surrealism, meanwhile, is 'imaginative and expressive,' DeBoe Harper says, pointing to a chair that looks like a large mouth with arms. Finally, craftsmanship highlights a growing demand for authenticity, quality and even sustainability in interior design. 'Designers showcased traditional artisan techniques like handweaving, carving, pottery – really enriching contemporary designs with a sense of history.' TREND TWO: PERSONAL WELL-BEING This theme 'goes beyond physical fitness or nutrition' and is about encompassing both literal and metaphorical comfort. Examples from the design shows include a chair that transforms into a lounge. The trend also features hyper-haptic surfaces. Think high-pile rugs, soft textural fabrics on furnishings and tiles with a wave pattern that you're inclined to touch. This advertisement has not loaded yet, but your article continues below. Calm interiors. This trend has gained significance and traction, says DeBoe Harper. Using soft colour palettes, natural materials, organic shapes and minimalist aesthetics is one of the ways to create harmony and balance. Nostalgia. Others find comfort in nostalgia and are 'looking back to inform their future…from old country houses and heritage styles to the art deco of the 1920s and 30s, which is having a huge moment again in its 100-year anniversary.' Sofa pits and colour palettes of the 1970s are enjoying a resurgence, as are the colour palettes, florals and shapes of the 1980s. TREND THREE: BIOPHILIC DESIGN 'We know biophilia is the human desire to commune with nature so biophilic design is design that supports your ability to commune with nature but from within your home,' says DeBoe Harper. This advertisement has not loaded yet, but your article continues below. Desert. This year, designers are 'absolutely captivated' by the desert's earthy browns, tans, creams and brick-red clay tones, along with the textures of sand and stone. 'The desert environment also is known for sustaining life in harsh conditions and embodies resilience and adaptability so in times of turmoil and stress in our external lives, we again will start even subconsciously looking for ways to build resilience in our personal environments.' Water, geology. References to the sea, ocean and water emerged as a 'captivating trend,' with designers drawing inspiration from soothing colour palettes of the ocean, the fluidity of water and the tranquility that coastal landscapes evoke. Finally, geological shapes, textures and colours you might find in minerals are also trending. This advertisement has not loaded yet, but your article continues below. TREND FOUR: FUTURE FORWARD This theme has emerged in the last couple of years and encompasses the trends that are either about futuristic styles or design that's in consideration of the future, DeBoe Harper explains. Industrial vibes. Unlike 'industrial chic,' which is inspired by old warehouses that were transformed into living spaces, the industrial vibes trend is about using materials like stainless steel in a 'much more committed way,' such as in kitchen cabinetry and backsplashes. Sci-fi. The future forward theme also encompasses sci-fi and futuristic design, which is very much about space-age colour palettes, blob amorphic shapes and experimental textures. When it comes to sustainability, meanwhile, it's about the This advertisement has not loaded yet, but your article continues below. continued use of ocean recycled plastic and 3D-printed furniture using waste materials, along with increased transparency in things like sourcing and local production. Metals, glass, stone. Metals are being applied in 'large, unexpected ways,' DeBoe Harper says, pointing to a hammered chrome ceiling as an example. Glass, meanwhile, 'is no longer the humble background servant. It's demanding the spotlight right now.' Glass blocking, for instance, is making a comeback. DeBoe Harper also predicts increased use of cork and says 'highly textural, heavily-veined stone that really makes a statement' as well as warm woods – especially in kitchen and bathroom cabinetry – are also on trend. Colours. It's time to embrace bold saturated orange as well as autumnal versions of the hue, such as terra cotta. Coco offers a 'sophisticated yet unpretentious alternative to traditional neutrals.' Submissive darks are often paired with bold florals or metallics for a 'super luxurious' effect. Pastels and digital pastels as well digital brights that transform spaces in 'really lively and really engaging areas' are also popular. Toronto Blue Jays Sunshine Girls Editorials Toronto & GTA Celebrity
The Hindu
27-06-2025
- Entertainment
- The Hindu
Behind Rural Modern Glass Studio's lighting collection, Vanaspati and Wishing Tree
The question that architect and lighting designer Arjun Rathi got asked the most at the recent Salone del Mobile was: 'Are you Indians manufacturing in Murano?' It was the first time that Indian blown glass was exhibited at the renowned Milan design week. Now, the two limited edition collections — Vanaspati and Wishing Tree — are back in India, and on display at Rathi's Rural Modern Glass Studio in Mumbai and at their lighting gallery at Eros Theatre. 'The Vanaspati collection is inspired by endangered species of flora and fauna from Indian forests,' says Rathi, who collaborated with artist Tejas Thackeray and the Thackeray Wildlife Foundation. 'We have pitcher plants [endangered in the Northeast because of ecosystem decimation], several kinds of wild flowers, and sweet lilies that are found in the eastern forests. Glass frogs and tiny metal creatures such as gold plated beetles, wasps, and bees, cast by an artist from Jaipur, have also been fused onto the lights.' The Wishing Tree collection, on the other hand, looks to the banyan tree — and the wishes that people make as they walk around it in temples across the length and breadth of the country. 'All the textures were created by taking real banyan roots and burning them into the glass,' shares the designer. The two collections mark the studio's first attempt at mixing two faculties of glass: flameworking (shaping glass using a torch to melt the material) and blown glass. 'We are also experimenting with so many colours for the first time, from reds and pinks to blues, greens and yellows. Compatibility is a big challenge in glass making,' Rathi adds. With 15 editions of each design, the collection is priced between ₹3.5 lakh and ₹12 lakh. Details:
The Star
08-06-2025
- Entertainment
- The Star
Working behind the scenes, creative collectives power fashion's boldest moments
For two days in April during the Salone del Mobile design fair in Milan, fashion brand Miu Miu hosted a book club. It was quite an undertaking, one that involved only a small amount of actual reading. Produced to the exacting taste of Miuccia Prada, the event, a cultural experience of sorts to promote the arts, involved the creation of a 96-page branding guide, which included a colour palette of six shades of orange, blue and ochre, as well as a custom logotype and its application across posters, banners, digital ads, menus, coasters, pencils, notebooks and more. Guests sat on tasselled couches lit by table lamps. The dress code was Miu Miu, of course. Executed with the help of two external agencies – 2x4, a New York design firm founded by Michael Rock, Susan Sellers and Georgie Stout in 1994, and Kennedy, a London experiential design agency founded by Jan Kennedy in 2000, the second annual Miu Miu Literary Club attracted more than 2,000 attendees, among them International Booker Prize winner Geetanjali Shree. Both 2x4 and Kennedy have collaborated on all manner of 'activations', as events like this are known in marketing-speak, but after decades of operating independently, the firms are now under the same ownership, having recently sold majority stakes to a rapidly growing entity called the Independents. In fact, they are two of 13 such small companies to be gobbled up in the past two years, joining a total of 19 agencies worldwide. Read more: Jonathan Anderson will now lead Dior men's, women's and couture – can he do it? A unique collective The Independents was founded in 2017 when Isabelle and Olivier Chouvet and a third partner, Alexandre Monteux, merged K2, their Shanghai event and production company, with Karla Otto, a veteran fashion and luxury public relations firm. Together, their clients included Chanel, Cartier, Celine, Moncler, Valentino and Nike. The Independents' original funding came from private equity firm Cathay Capital, which was bought out in 2023 with a new round of US$580mil (approximately RM2.5bil) funding led by a bank pool, TowerBrook Capital Partners, and Banijay, a strategic long-term investor that has the opportunity to increase its investment in 2026. The Chouvets remain majority investors. The couple, both French, made their mark in Asia with a string of entrepreneurial ventures, including Chinese flash sale site which Olivier Chouvet and his partners sold to Alibaba in 2015. They set up K2 in 2002. Their first project was the introduction of Chanel's J12 watch in Japan. By 2017, Isabelle Chouvet had developed a network that made her firm the go-to for luxury brands looking to do world-class activations – the public relations, branding, events, production and social media – in Japan, China and Korea. Diana Ross at the Metropolitan Museum of Art's Costume Institute benefit gala in New York on May 5. Ross' arrival at the Met Gala was implemented by Prodject, a firm that helps carry out Anna Wintour's vision. Photo: Reuters 'I wanted to do what I did in Asia worldwide,' she said of founding the Independents. 'I only had the experience and capabilities in Asia, so I immediately looked for a partner in a different geographic location.' Karla Otto, a German-born publicist who opened her agency in 1982 in Milan, had the connections Chouvet sought. With Chouvet as CEO, the Independents group has gone on an ambitious acquisition spree. Names like Bureau Betak, Prodject, Lucien Pages, Kitten and Sunshine may not mean much to the average civilian, but within the increasingly all-encompassing world of luxury, fashion and cultural branding, the agencies in the Independents portfolio are as blue chip as they come. When Alessandro Michele wanted to turn his Autumn/Winter 2025 Paris fashion show for Valentino into a giant, blood-red David Lynchian public toilet, he hired Bureau Betak to stage the scene. For the past 14 years, Anna Wintour has not planned a Met Gala without Prodject, the firm responsible for implementing her vision – whether 'Camp', 'Heavenly Bodies', 'Sleeping Beauties' or 'Superfine' – inside the museum. When Dior set about staging a Villa Dior presentation in Dali, China, it worked with K2 to realise it. The Independents now has 1,200 employees across offices in Barcelona, Spain; Beijing and Shanghai; Dubai, United Arab Emirates; Hong Kong; Jeddah and Riyadh, Saudi Arabia; London; Los Angeles; Milan; Munich; New York; Paris; Seoul, South Korea; Singapore; and Tokyo. The 2x4 agency and Terminal 9 Studios, a documentary film production company in Paris, are the most recent acquisitions. It's obvious why Chouvet would want to bundle these firms under one roof. The Independents group reported US$800mil (RM3.4bil) in revenue for 2024. She is far from the first to try to consolidate and capitalise on creative agencies. Venture capital roll-ups, in which a group of investors buy a bunch of agencies, eliminate redundancies, install a central administrative staff to cut costs, and eventually take it public or sell to a megagroup like Publicis are common practice. These deals come with pressure to deliver return on investment. Many of the agencies that have signed on with the Independents have spent their careers avoiding this acquisition model. 'It might work for tech companies or other things, but it doesn't work for creative industries,' Rock said. 'Whatever made that company great in the beginning is completely lost.' Yet Rock and his associates, whose clients include Prada, Chanel Arts and Culture, Nike, Instagram and Lincoln Center, signed over a majority stake to the Independents, which, from the outside, looks like a roll-up despite protests to the contrary. Chouvet said there is no exit strategy at the moment, and she has no financial or growth obligations to her investors. 'It's working so well because all of the interests are aligned, and everyone feels they are stronger by being together,' Chouvet said. 'There remains independence. That's why our name is the Independents.' The point of the group is to create a united network of partners who can work together, if they want to. 'By no means is it a forced march,' said Keith Baptista, a founder of Prodject. 'Nobody's telling me, 'You must work with this person'.' Many of the agencies have already shared clients for years. Bureau Betak does the design and production for Saint Laurent and Jacquemus fashion shows, and Lucien Pages does their PR. Read more: Demna must restore Gucci's 'fashion authority' – but who is he and can he do it? Why consolidate? So what is the point, and where's the catch? If everyone was happily working together for decades on end with no shortage of business, why consolidate? Otto and Alexandre de Betak used the sale to step back from the day-to-day of their agencies. She essentially retired, and he is now focusing on an art and architecture business. The practice of a principal exiting the business after a three-year earn-out period is common practice after a company is acquired. The idea that Chouvet is hoovering up a bunch of companies whose success hinges on the singular vision of the founder, just when the founder is looking to retire, is not a negligible one. 'You get to a certain age and you think about those kinds of things,' Rock said. 'We weren't looking to cash out like an exit strategy. We still want to work.' Why wouldn't he? A few weeks later, Rock was reached by phone to confirm the Pantone colours chosen for the Miu Miu Literary Club. He was at the airport, flying back from a weeklong photo shoot for Chanel in southern France. 'I'm feeling very ragged,' Rock said. 'But we were at Coco Chanel's house on the Riviera, so it's kind of like... can't really complain.' – ©2025 The New York Times Company
Business of Fashion
23-05-2025
- Entertainment
- Business of Fashion
Fashion's World-Builder-in-Chief
If a name is destiny, Niklas Bildstein Zaar has more than lived up to his. It could belong to a scion of House Harkonnen, an impression that is consolidated by his ascetic appearance — ghostly pale, shaven-headed, invariably swathed in voluminous black — and doubly underscored by the work his Berlin-based architecture and design studio Sub produces. Sub enthralls and unhinges with its otherworldly fusions of the monumental and the intimate, all scale and shadow, light and smoke, blaring sound and startling silence. It's easy to see how Sub's stark, sensual hybrids have insinuated themselves into popular culture. Their fearlessness is kind of overwhelming — and kind of omnipresent. On March 3, Bildstein was helping Anne Imhof launch 'Doom,' the artist's latest immersive extravaganza, in New York. Two days later in Paris, when Haider Ackermann debuted his first collection for Tom Ford, it was against a hermetically erotic backdrop created in tandem with Bildstein. Four days after that, Sub was responsible for Balenciaga's labyrinthine staging. A month later, Bildstein was working with Bill Kouligas of the Berlin record label PAN on an installation to debut their reworked Nike Air Max 180 at the Salone del Mobile in Milan, and then his latest collab with Travis Scott launched at Coachella. It suspended twitching human forms like puppets on string while plumes of fire roared around them. Bildstein (the Zaar is apparently negotiable) and I have been talking since last October, when we met in Iceland where he 'designed' Ackermann's mindboggling journey to the centre of the earth for Canada Goose. That particular exercise threw a spotlight on Bildstein's very timely specialty. He is helping realise the creative visions of his fashion, art and music collaborators by designing experiences for them in novel ways, resulting in highly scrollable spectacles for the audience following along on social media. Canada Goose's excursion in Iceland in 2024. (Thibaut Grevet) He's also his own best ambassador. Bildstein is one of those conversationalists where it is really just a pleasure to shut up and listen. One thing I instantly gravitate towards is his idea of world-building. The planet is cursed with fools attempting their own versions of the same thing, but there is a seductive scale to Sub's output, even when it's as contained as it was for Ackermann's Tom Ford debut. So let's start there. Start small. 'Orchestrating feeling,' Bildstein calls it. He and the designer were in perfect sync, keen to combine then and now. 'Tom Ford is really pornographic,' he says, 'so we wanted something raunchy but also dreamy and ephemeral and light.' How many people in the audience took full note of the backdrop, the mirrors smeared with the phone numbers, the messages, the graffiti of the hookers Ackermann remembered from his old job at a nightclub in Antwerp? Who would have grasped that in the moment? It didn't matter to Bildstein if it wasn't seen for what it really was, if the details got blurred. 'If things get over-proscribed or too literal, the magic gets lost,' he insists. 'The space sets the tone with a sense of immediacy, but people are still projecting their own desires. You need to project yourself onto something.' Bildstein calls this 'sensory filler.' 'In memory, things are not clear,' he claims. 'You think you know in great detail what you've experienced, but people have a very loose idea of what they are.' Tom Ford Autumn 2025 show set. (Stéphane Aït Ouarab) I could ride that train of thought to the end of our conversation. Right now, Bildstein is on the phone from Venice, where Sub has designed the main exhibition at this year's Architecture Biennale. The very opposite of starting small, it marks a new degree of professional application and appreciation, acknowledged by a profile of Bildstein in The New York Times. 'Apocalypse Chic' the headline brayed. He wasn't best-pleased. The single word that has occurred more often than any other in coverage of Sub is 'dystopian.' Maybe that's inevitable when your longtime collaborators are people like Anne Imhof and Demna, or when they get the kind of coverage that Travis Scott and Ye, for whom he has also designed elaborate stage sets, have attracted of late. 'But that trope is looking lazy now,' Bildstein says, especially after Biennale curator Carlo Ratti's declaration that he'd chosen Sub because of the studio's proven ability to connect with a wider audience through its work in fashion and music. He will acknowledge, however, that in Sub's formative years, it felt important to talk about bleakness, and that is what really connected with the audience Ratti wants to speak to now. 'The thematics that were interesting to me were showing the hypocrisy of how the world was operating,' Bildstein explains. 'Everything was very 'imagine a space that is built with the intention of not providing any kind of comfort to people.' That's really the financial model a lot of real estate developers have. I wanted to respond to that so spaces of abandon, spaces that were comprised of generic elements, generic materials, galvanized steel, plaster board, simple concrete textures, all became part of a vocabulary of materials of the undecorated and valueless. The surprising thing, though, was that in the way that we deconstructed them or reassembled them, what remained was a kind of an attitude. Some would have it as a nihilistic, dystopian attitude, but it was clearly an attitude through space that people were responding to. The kids loved it.' I think that's because there's always a convincing sense of grandeur in everything Bildstein has done. However dark or nihilistic, it's been huge. Anne Imhof has taken over whole museums. Balenciaga has made and unmade worlds. 'I think it needs that, to have some authority in its proposition,' Bildstein offers. But, in a way, it's the grandeur of ruins. The artful decay of the Balenciaga salon in Paris and the frayed edges of the brand's shop on London's Bond Street speak to the end of days, a failed human touch. It is storytelling at its finest, its most subtle. And maybe its most dystopian, however much he's tired of the notion. In one of his rare early interviews, Bildstein suggested, 'We're ridding ourselves of previously accepted forms of an idealist mindset.' That hinted at a significant degree of cynicism, bordering even on despair. Now he counters, 'People want some of their primary needs fulfilled, people don't want to feel embarrassed, they don't want to feel guilt, they don't want to feel shame, they don't want to feel fear. And so if someone has a compelling enough vision that reduces these primary emotional attributes, then that will be a really appealing mode to adopt. I think we're experiencing that really very well in this very moment.' (At which point, I would advise everyone to run, not walk, to find a reprint of the visionary psychoanalyst Erich Fromm's 'Escape from Freedom,' originally published in 1941, which succinctly outlines the contrary and irresistible allure of authoritarianism.) When I ask Bildstein how important despair has been to him as a motivator, he answers, 'Definitely with the work I did for Balenciaga, but actually across the board… chronicling trauma as a design response has been something that people have been addressing in my work as dystopian. It's a reoccurring word that I hear to the detriment of Balenciaga, for sure. 'Can you just make it a little bit more cheerful…?'' Balenciaga's Summer 2020 show set. (Courtesy Balenciaga) Balenciaga has been Bildstein's defining client relationship to date. He claims he was essentially a nobody until Demna invited him into his world in 2019 with the show that simulated the parliament of the European Union in the aftermath of Brexit, an act of wilful economic suicide on the part of the UK government. But if Brexit was the unmentionable elephant in the room, Demna kept his design focus on literal power dressing. 'You omit the primary sentiment, but obviously, if you're able to design all the consequential things around it, it's a very powerful way to mediate ideas,' Bildstein acknowledges. 'And to see the work I'd been thinking about for so long suddenly being given a forum to express itself, and to see people responding to it in such huge numbers, was scary but also thrilling.' It's doubtful that many people in the audience considered the seating, but Bildstein had, in an early testament to his incredible eye for detail. Blue conference chairs, the chairs you sit on in parliament. 'The seating wasn't by chance. You become sort of entrapped in this role play by doing just one single action of sitting down. And I like the idea of entrapment. The reason why fashion shows are so good is the audience only need to do one thing. Enter, take a seat, see what's in front of them, and then it's over. Then, of course, you can play with lighting and sound and all the rest. But if we orchestrate that properly, the act of taking a seat actually turns you as an audience member into a protagonist.' The notion of audience complicity is always compelling. True, the vastness and occasional fury of Bildstein's concepts for Balenciaga shows have loaned them an inescapable intensity. Autumn/Winter 2022, to select just one controversial instance, was widely interpreted as a comment on Russia's invasion of Ukraine. Every seat had a t-shirt in the colours of the Ukrainian flag, the massive catwalk circled what looked like a bomb crater, and at show's end, the 'horizon' that ringed that catwalk was illuminated with random flashes as a distant war grew closer. But according to Bildstein, that wasn't at all the original intent (the t-shirt was a last minute addition). 'I would never try to do something that speaks to violence in that way, that would be obscene,' he insists now. 'It was more about the idea of a crescendo, a Wagnerian thunderstorm.' He claims the set — white ceiling, black glass — was supposed to be an architectural representation of all things Apple, with the steadily escalating sound and fury of the show an analogue for how we digest the turmoil of the world through the screen of our devices. It wasn't a warzone we were in, it was an iPhone. Balenciaga's Winter 2022 show set. (Courtesy Balenciaga) It's testament, at the very least, to the power of ambiguity, which isn't a negative in Bildstein's eyes. 'I think that's the powerful thing,' he says, 'especially when you're using space as a kind of narrative device. It should be immediate in its feeling, but not over-proscribed in terms of what it is. As soon as you tell the full story, when it becomes literal, you lose engagement.' In other words, there has never been a 'full story' with Balenciaga's shows, only loaded and elliptical spectaculars that stimulate conjecture like no one else's fashion week presentations. And presumably, tantalizingly, that will continue as Demna moves on to Gucci. Bildstein is already working with him on concepts for his debut. 'A new visual language, a new tone of voice,' he teases. Born and raised deep in Sweden's Arctic territory, Bildstein dropped out of school at 16. By dislocating himself from the conventional academic route, he closed off one set of opportunities but opened up another, where insatiable curiosity would be his teacher. 'That's why the notion of working transdisciplinary — which might seem like a kind of buzz word — is really just a consequence of how I've accumulated my knowledge over my life. The older I get, the more I discover. But as I take on different types of projects, or integrate layers into projects, I learn that everybody else is not prone to understanding how to weave these different threads from architecture, technology, storytelling, visual communication into some type of whole. They're not different categories. To me, they're really just different modes of communication. I'm finding it a little bit challenging as I get older to hold these conversations. But I think that's also my purpose, to try to give a bit of clarity, to showcase that things actually do connect.' That was the mission that became a manifesto for Sub. Bildstein and business partner Andrea Faraguna created Sub in 2017 as something between a research institute and a design studio with the metaverse as its playground. 'By the early 2020s, there was this general idea that there was a digital twin of the world that we could all interact with. Virtual reality, mixed reality, augmented reality. These were the kind of conversations that were held at that time. But the metaverse became a little bit simplified because the term got really unsexy, due to Facebook, I think. Today, there's less talk of metaverse. It feels like a dying terminology. What's emerging is something else.' Along with that shift, Sub is changing. If Bildstein and Faraguna originally presented an inseparable front in their rare appearances in the press (he describes them as 'a phenomenal combination'), they've recently drawn apart a little. He acknowledges that architecture is the umbrella under which Sub operates and that is Faraguna's bailiwick, while his work is more within a framework he calls entertainment. 'It's a bit of a random thing, and it sounds a little corny in a way because it doesn't have any kind of intellectual proposition tied to it. But I think it's important to call it what it is. So that would be, for instance, when we collaborate with musicians and fashion. And then we have this digital and strategy side, and that's really where we will be focusing moving forward. A lot of innovation can come out of that, and I'm really excited with what's on the horizon.' That's where the 'something else' comes in. 'We don't really know what that is,' Bildstein says. 'We don't even have the terminology for it. But the point might be that we don't really need to be embedded in these high-fidelity visual graphics. There's another type of mixed reality which is much more intriguing. Be okay with reality as it is for now, but let's embed a lot of other tools within it that are maybe not so visually dominant. What's happening now is, with the development of discriminative computer vision or object recognition, we have these algorithms that can actually understand the reality around us. Instead of trying to build a synthetic, three-dimensional replica, or digital twin of a world, we can let the world be what it is.' It's been a while since he told a journalist that he felt like an obsolete life form. 'We're just not equipped for what technology is throwing at us,' Bildstein said then. Now, he has a plateful of AI. Is he positive? 'It's a sticky thing,' he says. 'A really sticky thing. But what I do know for a fact is the only way to harness it towards something good is actually to engage with it and understand how it operates instead of being, like, here is this opaque, powerful new mode. It's a responsibility to understand how to break it down into smaller elements so we can generate something of our preference.' Travis Scott's stage set for Coachella in 2025. (Courtesy) The way we consume imagery is an unsurprising obsession for Bildstein, especially with the emergence of AI image generators. 'Images used to hold a lot of meaning, because there used to be a kind of sampling of something that took place and you felt historically that it transmitted something to you. It doesn't work like that anymore. You don't really know what is synthetic or what is real. And with the frequency and abundance of imagery over our phones, we don't actually lend ourselves to it to absorb any kind of emotional meaning. It doesn't transmit anything. It just becomes a vibe. And vibe is such a complicated word, because it's so profound, but it's also so hollow.' He might have found the perfect paradigm for that sentiment in the set of Demna's last ready-to-wear show for Balenciaga in March. It was clearly a labyrinth in the livestream's aerial shots. 'It's a shame the actual physical audience never got that,' Bildstein says ruefully. The show meant a lot to him personally, given that it was informed by the work of the Argentinian author Jorge Luis Borges, one of his biggest youthful inspirations. Borges was blind, but he conjured worlds out of his darkness. 'A lot of that world-building is maybe what we're trying to replicate,' Bildstein suggests. Borges's best-known collection of stories is named Labyrinths, and one of the most famous stories in it is 'Funes the Memorious.' After suffering a head injury, Funes remembers everything. As one thing comes to mind, it instantly triggers a memory of another association. Bildstein considers Funes' situation 'maybe one of the most beautiful literary metaphors in terms of living in an information-heavy society. Imagine feeding the journal of an entire life into a context window to make a magnum opus. It's quite a Borgesian idea.' But is it a blessing or a curse? Funes chooses to live in darkness, a kind of voluntary blindness. When Bildstein describes his own living situation, it sounds similarly cerebral, stripped to monkish basics, bar his pit bull mix Diablo who goes everywhere with him. As another touchstone, he mentions Stanislaw Lem's Solaris, with its poetic tale of astronauts who travel to the end of the known universe only to discover their own shadow. 'We need to look inwards to look outwards,' he proposes. 'We need to understand or investigate our own biases in order to be more open.' Bildstein himself has clearly been doing a little self-scrutiny. 'It is so much more profitable to be deceptive or act as a defector. That said, I think deep down inside I'm a little bit sinister and I'm trying to overcome that. I'm being a little bit more hopeful now, and I also realize that what you create mirrors the future to come.' Anne Imhof's 'Doom' at the Park Avenue Armory in 2025. (Matt Grub) Maybe he's even fallen a little out of love with tech. 'The way we choose to utilise some of these emerging technologies is not actually improving our lives,' Bildstein concedes. 'Isn't it absurd that with social media in general, instead of being this gateway into this kind of Shared Photo Album which is a beautiful thing as a journal of what we're doing, it becomes a kind of doom-scrolling, dopamine-addictive, gamified slot machine. It's like we're living in an infinite feedback loop of negativity, and it's easy to go down the sensationalistic route. I feel a responsibility to take a step back, to try and prompt myself to look at things from multiple points of view, and to allow an audience to feel free.' 'I've been propagating a sort of dystopian visual output in my work, that's already established now,' Bildstein continues. 'So what am I interested in coming up with next? I keep on thinking about intimacy and connection and how that is something I want to explore a little bit further.' He's even floating the idea of permanence, maybe a home, as an antidote to the fiercely nomadic nature of his life to date. That's pretty radical for him. We're both fascinated by the incredible estate the artist Anselm Kiefer has created for himself near Barjac in the South of France. It is an aesthetic magnum opus given monumental physical form. But Bildstein finds that hard to imagine at his age. He is, after all, only 36, nowhere near the end of his life as Kiefer is. 'Permanence for me doesn't have to mean there's a kind of a monument that is transmitted to the next generation,' he muses. 'I don't think I've really defined that to myself yet, but there's definitely a kind of acknowledgement that human needs are very simple — food, clothing, shelter — and it could be a home. It's just a suggestion.'
