No.7 Established & Sons New 2011 Collection 2010 Collection & New Finishes 7. Spinning tools

Wood branding Glass blowing

Upholstery

Pewter work

Screen printed textile

Light diffuser Established & Sons Established & Sons is a uniquely positioned British design company focused on producing and representing all that is innovative in contemporary design. Since its inception in 2005, Established One ⁄ New Collection 2011 & Sons has become internationally respected, not only for working with some of the world’s leading designers, architects, artists and artisan studios, but also through introducing up-and-coming Overview ⁄ 8 creative talent. Established & Sons employ skilled craftsmen and use high quality manufacturing Lighting ⁄ 10 techniques in the production of their designs, producing original collections that are both significant Accessories ⁄ 14 and pioneering, illustrating the very best design on an international platform. Estd Accessories⁄ 16

Seating⁄ 20 This year, Established & Sons is excited to launch an elite and enterprising new collection, introducing Tables ⁄ 24 a selection of new pieces by designers including Ronan & Erwan Bouroullec, Peter Bristol, Committee, Storage ⁄ 26 Matali Crasset, Felix de Pass, Nathalie Dewez, Konstantin Grcic, Klaus Haapaniemi & Mia Wallenius, Hallgeir Homstvedt, Klauser & Carpenter, Luca Nichetto, Leon Ransmeier, Anders Ruhwald, Sylvain Two ⁄ 2010 Collection Willenz, Terence Woodgate & John Barnard, Richard and Sebastian Wrong. The diverse Overview ⁄ 34 products that make up the new collection are each remarkable in their own right. Some of the pieces Lighting ⁄ 36 explore new ways of working with design technology, some have elements of surprise and others are Accessories ⁄ 42 pieces of arresting beauty. They are each unique, but all are linked by Established & Sons’ enduring Estd Accessories⁄ 44 commitment to quality, attention to detail and design innovation. Seating⁄ 50 Tables ⁄ 52 A range of new products also join the Estd Collection which launched in April 2010 to critical acclaim. Storage ⁄ 54 The new pieces uphold the characteristics that determine the collection, namely design integrity, Specifications ⁄ 56 economy, purposefulness and materiality. The objects in the collection are considered, individual and draw attention to moments in the day that may otherwise pass by unnoticed. Their inherent points of Three ⁄ New Finishes difference, be it the material used, an unexpected colourway or the unique manufacturing process, allow Established & Sons to strengthen the brand, embrace the potential for ecommerce and enable Overview ⁄ 66 the user to take pleasure in the events of the everyday. Specifications ⁄ 70

For the first time, Established & Sons’ Principal Collection features tapestry design, as well as a Notes & Credits⁄ 73 selection of exciting new rugs, lighting, seating, storage and tables. In each and every piece Established & Sons realises its original mission: to harness the energy and originality of emerging design talents as well as to produce work by established contemporary designers.

5 ONE. NEW PRODUCT LAUNCHES TWENTY- ELEVEN Balance, p10 Corner Light, p11 Dame, p11 Serve, p18 Takeaway, p19 A-Bench, p20

Glaze, p12 Topp, p12 Torch cone Ø500, p13 Cape, p21 Hay Bale, p22 Quilt, The Thing, p22

Super Conic, p13 Mammoth, p14 Meteor, p15 Revolver, p23 Soft Rocker, p23 Mesh, p24

Volcano, p15 Zig Zag, p15 Cuboid, p16 Surface Table Ø1480, p25 Folio, p26 Perspective, p27

Loaf, p17 Potto, p17 Pour, p18

8 9 Corner Light LIGHTING Peter Bristol

Balance Dame Nathalie Dewez Luca Nichetto

10 11 Glaze Torch cone Ø500 Anders Ruhwald Sylvain Willenz

Topp Super Conic Hallgeir Homstvedt Design Matali Crasset

12 13 Meteor & Volcano ACCESSORIES Klaus Haapaniemi & Mia Wallenius

Mammoth Klaus Haapaniemi & Mia Wallenius

Zig Zag Sebastian Wrong

14 15 Loaf

Potto

Cuboid 16 17 Pour

Takeaway

Serve

18 19 Cape SEATING Konstantin Grcic

A-Bench Felix de Pass

20 21 Hay Bale Revolver Richard Woods & Sebastian Wrong Leon Ransmeier

Quilt, The Thing Soft Rocker Ronan & Erwan Bouroullec Committee

22 23 Surface Table Ø1480 TABLES Terence Woodgate & John Barnard

Mesh Klauser & Carpenter

24 25 Perspective STORAGE Sebastian Wrong

Folio Ronan & Erwan Bouroullec

26 27 LIGHTING ACCESSORIES

Balance Topp Mammoth, Meteor & Volcano Pour Nathalie Dewez Hallgeir Homstvedt Design Klaus Haapaniemi & Mia Wallenius ™

The Balance desk lamp is a bent aluminium tube with The Topp Lamp draws its inspiration from two distinctive An array of influences from Finnish folklore, history, and The two intersecting cones that make up the body of these integrated LEDs. A transformer for the LEDs is hidden within silhouettes: the classic ‘Atollo’ lamp by Viso Magistretti interests in nature and fashion contribute to the design of handsome pewter jugs drew inspiration from old-style oilcans the larger tube that also serves to counterbalance the lamp. and a graphic arrow. The foot is of strong resin available Klaus Haapaniemi & Mia Wallenius’s immersive Mammoth on which the funnel was connected to the main body. Each jug With this weight fundamental to the design of the lamp, in black, white and yellow. Each colour contrasts strikingly tapestry, Meteor Ottoman and Volcano Rug. The vibrant is beautifully hand crafted – cut, rolled, soldered and polished Balance stands without the need for any additional fixture. with the aluminium shade. The beautiful spun top allows the scenes and lush colours of the series will instantly give life to – from solid pewter sheets. Available in ½ pint, l pint and 750 The design is logical, attractive, interactive and mobile geometric simplicity of the shapes that make up the lamp to any space. The vividness and constant motion of the universe milliliters, they’re perfect for water, milk or decanting a bottle – a gentle touch at the base will set it moving slowly back and be appreciated fully – the triangular and rectangular shapes that exists within these pieces defies description and simply of wine. The funnel spout is designed to pour a precise and forth around the pivot point. are distinct but compliment each other to create a pleasing, commands attention and admiration. controllable flow of liquid. arresting whole. Topp’s presence will add contemporary sophistication to domestic or contract interiors. Corner Light Zig Zag Serve Peter Bristol Sebastian Wrong ™ Torch cone Ø500 Placed where the wall and ceiling meet, the Corner Light Sylvain Willenz Zig Zag’s graphic format is based on a topographic map, The idea behind the Serve trays was to use existing parts creates an equilateral triangle of light nestled in the corner suggesting valleys and hills upon a flat surface or objects from a bentwood manufacturer and re-appropriate the pieces of a room. The integrated form implies the lamp is part of the 2011 sees the Torch collection expand with the addition of the under the surface. Designer Sebastian Wrong wanted to into a new product for the Estd Collection. The circular and architecture of the room, but the purposefully exposed cable Torch cone Ø500, a dramatically wider version. Torch Light, recreate the original ‘sketched’ effect of coloured pencils on elliptical bases and the pure bentwood forms that define the reveals that the light’s placement is temporary. The light is held owes elements of its form to the typical torch and car headlight. tracing paper in the rug’s production by combining the dyed edges are produced with workshop processes; the results up with a simple steel bracket that mounts to the wall PVC dipped polymer gives a tactile finish, referencing the yarns with a hand knotting technique and controlling the are pleasing forms to look at, feel and use. Reclaiming the and an aluminium frame; a fabric diffuser magnetically handheld nature of a torch, whilst light shines through a clear, density and height of the pile. This resulted in a lively, sketchy, bentwood pieces and reinterpreting them to make a new attaches to the frame to complete the lamp. Available in two diamond textured polycarbonate diffuser (akin to the textured contoured surface and a rug to look at and touch. Zig Zag will object highlights simple forms that are often overlooked sizes, the novel idea and clever execution of Corner Light glass of a car headlight) creating an ambient light. The Torch bring multiple dimensions to a variety of interiors. and unappreciated. Available in three colourways and three makes a contradictory statement that is both inherently iconic Light is available as a table light in two sizes, suspension light different designs, the Serve trays make a complimentary set and minimalist at the same time. in four sizes and as a grouped suspension light of 10 or 20. that would have many uses in the home. Since its launch in 2008, the Torch Light has become one of Cuboid Established & Sons most widely admired pieces. ™ Dame Takeaway Luca Nichetto Made from coir, natural coconut fibre, this abstract design ™ Super Conic is far more intriguing than a mere ‘Welcome’ doormat. The The traditional glass lanterns made on the island of Murano Matali Crasset illusion of three dimensions created by the shape and shading In general the question of what’s inside a box is more intriguing are the inspiration for Dame, a collection of lamps designed invites interaction with an object that is usually overlooked. than the box itself. But the Takeaway turns this presupposition to illuminate large environments or far more intimate spaces ‘Light is a medium on which I particularly like to reflect as it Although its function of being a practical entrance mat remains inside out. It references a commonplace object from our depending on the manner in which the various component conspires to reveal the intimate dimensions of the area,’ says unchanged, Cuboid also takes time to remind us to pay on-the-go lifestyle – a fast food container. Folded from sheet parts are assembled. Dame’s aesthetic recalls both Tiffany designer Matali Crasset. The Super Conic pendant light not attention to the little things. metal, Takeaway is anything but ordinary. The strength of the lampshades and the stained-glass rose windows found in only reveals details of the area it illuminates, it also adds its medium gives this piece a presence weightier than its function churches. Dame’s unique appearance is the result of the effect own delicate beauty to its surroundings. Made from a bouquet of mere ‘container’. Takeaway highlights that even the simplest caused when its illumination is diffused through the lamp’s of transparent glass cones arranged around a light-diffusing Loaf seeming object can be captivating in the right circumstances. decorated inner thermoformed shade. The innovative layering cone in the centre, the light shining through reveals the ™ Takeaway is designed to keep safe your special mementos and of materials is borrowed from automotive manufacturing and luminous contours of the glass and creates a beautiful focal precious belongings. has never been used in the production of light fixtures before. point of interplaying light and layers. Simple yet clever, the bread bin’s circular shape was inspired Dame is available in a variety of selected configurations to by existing bentwood remnants and the three holes in the top suit any space. are reminiscent of those found in bowling balls and function as ‘handles’ with which to lift the lid. Made of natural , Loaf would look at home in any kitchen. Glaze Anders Ruhwald Potto The elaborate studio process of trial and error and direct ™ manipulation of materials Anders Ruhwald works with led to the development of the Glaze lamp bases. In a sense they These Japanese Tokoname pots show the unique and beautiful were discovered, not designed, because he experiments with material qualities of this world famous black ceramic. They surfaces, textures and materials until he finds the right result. are appealing and sensible storage solutions for cooking The uniquely textured surface of these lamps is the result of a ingredients such as sugar, garlic and shallots. The sugar clay coiling process in which the surface becomes a record of bowl is complete with a beautifully handcrafted Japanese the hand that made it; thus Glaze has a level of originality more wooden sugar spoon that makes the act of spooning sugar often found in exhibition pieces. The three bases are a play on more satisfying and contemplative. The ingredients pots have traditional table lamps, that is, ceramic feet with shades on equally thoughtful details: holes in the lid for ventilation and top. Simple fabric cone shades set the exceptional bases off easy opening. Cleverly designed to fit one atop the other; to perfection. Glaze’s three colourways are inspired by primary the curve of the bottom of each pot sits securely on the thick origins – yellow, red and blue. But, like the shape of the lamps, rubber lid of the next size up so they will not slip. As a tower the colours are unusual; each element of the design is close they take up little workspace and make a unique display in to its foundation but too far away to have a direct relationship. the home. Potto is meant to be touched, used and enjoyed. The lamps play on original formats and activate the space they sit in. Although they are each independent, they can be united in one space by virtue of their uniform satin glaze.

28 29 SEATING TABLES STORAGE

A-Bench Revolver Mesh Folio Felix de Pass Leon Ransmeier Klauser & Carpenter Ronan & Erwan Bouroullec

A-Bench is a versatile indoor or outdoor, domestic or contract Revolver is a well-known object with an element of surprise. It The most noticeable element of this table is its mesh metal The question of finding inventive, simple ways to tidy up bench. Made from mirroring and repeating two different is a four-legged rotating barstool that integrates a ball bearing base. It is constructed from expanded steel mesh, from which a room has always been a recurrent topic for Ronan and components, A-Bench has a symmetry that allows it to be into the lower ring. This enables it to take on another level it takes its name. No designer can use this distinct material Erwan Bouroullec. Folio offers a new typology of furniture approached and used from any angle. The bench’s uplifting, of functionality: the foot rest turns with the seat so the user with its industrial connotations without giving credit to Shiro as it occupies a space between the functionality of basic striking angles and carefully balanced proportions are a result can turn 360 degrees. By allowing one’s entire body to turn at Kuramata and his poetic arm chair ‘How High the Moon’ shelves and the more elaborate option provided by a chest of how the materials are formed and the functions they must once, Revolver ensures that the barstool is put to its best use: from 1986. Like ‘How High the Moon’, this table contrasts an with mechanical doors, while also retaining an unexpected serve. Great comfort is revealed upon use, and is achieved by socializing with friends. In addition, Revolver would be equally industrial aesthetic with elegant proportions. Mesh, however, sculptural quality. It provides the possibility to hide some, or the angled solid wood sections. at home in a domestic kitchen as it would in a contract interior. has a much more resonant reference to the once ubiquitous, the totality, of the objects that stand on Folio’s shelves industrial waste paper bin. Since the tabletop of high quality just by moving a fabric adornment that runs delicately along high pressure laminate merely rests on the galvanised and a discreet aluminium rack. Folio is a simple, light and easy- Cape Soft Rocker powder coated steel base, it can be used for storage. The table to-use system. Konstantin Grcic Committee is suitable as a coffee or side table.

Cape is an upholstered sofa with an overlay cover. Cape grew A crossbreed of an armchair and a rocking chair, Soft Rocker Perspective organically from the initial design challenge to create covered is entirely upholstered, right to the end of its rockers. It Surface Table Ø1480 Sebastian Wrong seating with a casual yet luxurious feel to it. The inspiration provides the soothing motion of a rocking chair, with the Terence Woodgate & John Barnard came from the informal way in which loose fabric is draped comfort of an armchair. Except for the expressive curve of This simple construction functions as a wall mounted over a piece of furniture for its preservation as done in hotels or the actual rocker, the design is intentionally boxy to give the In 2008, international attention was caught when two Royal shelf that plays on perspective form. Wrong cites the aesthetic country estates off season. Multiple fabric and colour options impression that the shape is halfway between reality and an Designers for Industry, one from the world of furniture of Modern Architecture pioneer Le Corbusier, particularly the are available making it more usable all year round: heavier isometric drawing. However, its static form is deceptive for design and one from the world of Formula One racing car oak cabin Le Corbusier built as a study in minimalism, as his fabric for warmth in the winter, lighter fabric for comfort in once sat in, it gives way to soft, comfortable movement. The design, collaborated to create the Surface table, a super slim stimulus. Perspective questions normality and challenges our the summer. It also allows for an instant update as an interior back, seat and arms are aligned to best support a mental state composite table. Using state-of-the-art autosport / aerospace interaction with the object and our own space. ‘I wanted the changes. Cape is available in one and two seat options. of ‘relaxed alertness’ the perfect pose for reading the paper, technology to exploit the inherent rigidity of carbon fibre made piece to refer to this era and beyond to the present day where a prolonged gaze out of the window or a good conversation. creating the original Surface Table possible. Building on the art and design have become less defined’ said Wrong. success of the Surface collection, 2011 sees a new addition Hay Bale – a circular Surface Table. Woodgate explains, ‘With the new Richard Woods & Sebastian Wrong Surface table the emphasis is on the reflective quality that the ultra thin black surface creates.’ Woodgate was inspired Hay Bale continues the collaborative design relationship to consider this aesthetic when he the original table between Sebastian Wrong and Richard Woods. Hay Bale is compared to Richard Wilson’s extraordinary work 20:50 in Plain intended to create flexible seating landscapes suitable for Space, the retrospective of architect’s John Pawson’s work by contract and domestic use. The piece has both the fun and Alison Morris. 20:50 plays with viewer’s perceptions of space functionality one expects from a Wrong Woods collaboration. by perfectly reflecting an entire room in a smooth black mirror All four sides are upholstered for comfortable seating, which of sump oil. ‘The table being compared to a work of that makes for maximum versatility. Thoughtful details like the importance made me realise that the reflection in the finish is cotton-web handles and removable covers make Hay Bale extraordinary in its own right.’ says Woodgate. It seems that by easy to move and maintain. The characteristic all-over Woods expanding the Surface Table collection, the original search for print and the string-like stitching give Hay Bale a casual, perfection that sparked the design is continuing. relaxed attitude that suits the multipurpose goals behind the design, but belies the attention and careful planning that has been applied to the piece.

Quilt, The Thing Ronan & Erwan Bouroullec

The Bouroullec’s iconic Quilt series of feature seating is now available in a new colourway, taking inspiration from iconic comic book superheroes. The Quilt chair and sofa consist of an upholstered, honeycomb-like skin of hi-tech stretch fabric with individual foam inserts, which is fitted over a fibreglass shell. The patchwork components are mathematical in design, as well as decorative, and give a comforting and reassuring feel to this functional chair. Quilt is an antithesis to the formal, structured sofa and seating designs we have become familiar with.

30 31 TWO. PRODUCT LAUNCHES TWENTY- TEN Audrey Light, p36 Column, p37 Corona, p37 Hang, p46 Hold, p47 Soft Grid, p48

Edge, p38 Globe, p38 LightHouse, p39 Spin, p49 Store, p49 Crash, p50

Pipe, p40 Print, p40 Yellow Light, Pink Light & White Light, p41 Jumper, p51 Sessel, p51 Bend, p52

Audrey Vase, p42 Butte Tuna, Butte Tree & Butte Turtle, p43 Wood Rug, p43 Blow, p53 Amsterdam Armoire, p54 New Order, p55

Blob, p44 Butte, p45 Dip, p45

34 35 Column PRINCIPAL Sebastian Wrong COLLECTION

Audrey Light Corona Michael Eden Frank

36 37 Edge LightHouse Amanda Levete Architects Ronan & Erwan Bouroullec

Globe Sebastian Wrong

38 39 Pipe Scholten & Baijings Luca Nichetto Yellow Light, Pink Light, White Light

Print Sylvain Willenz

40 41 Butte Tuna, Butte Tree & Butte Turtle ACCESSORIES Scholten & Baijings

Audrey Vase Wood Rug Michael Eden Richard Woods

42 43 44 45 46 47 48 49 Jumper SEATING Bertjan Pot

Crash Sessel Konstantin Grcic Martino Gamper

50 51 Blow TABLES Konstantin Grcic

Bend Sebastian Wrong

52 53 New Order STORAGE Stefan Diez

Amsterdam Armoire Scholten & Baijings

54 55 Edge LightHouse Amanda Levete Architects in collaboration with Philips Ronan & Erwan Bouroullec LIGHTING Edge is driven by a desire to exploit a technology that is in its Collaboration with Venini infancy but is destined to change the way we see light. Dubbed the “new lighting technology of the 21st century”, an OLED is When designing for Established & Sons and Venini, Ronan and essentially an extremely flat, lightweight panel. When current is Erwan Bouroullec’s idea was to light up a voluminous round Audrey Light Corona applied, the whole panel lights up, casting out a gentle, evenly glass structure that would be balanced on a delicate aluminium Michael Eden Frank dispersed glow of light. Philips has named this technology support. Drawing attention to the precariousness of the Lumiblade. Unlike traditional light bulbs, Lumiblade gives no equilibrium Ronan and Erwan wanted to present the vulnerability Collaboration with Venini Corona was conceived as a homage to the soon to be lost flickering of light, no glare and no excessive heat emission. of the object. What was also interesting to them was the mix of ‘Crown’ silvered light bulb - designed to echo the bulb’s brilliant Instead, there is simply a subtle sheen of light. Levete wanted techniques to make the three elements that craft this lamp: the Michael Eden’s interpretation of Continuous Profile, function, the scale has been increased to create and amplify to reveal the wafer thin essence of OLEDs and create a light that base and the support are industrially made in opposition to the Head of Mussolini 1933, uses classic beauty Audrey Hepburn’s playful reflections from the mirroring. Corona, available in two is completely reductive in its simplicity - a flat ribbon of steel is hand-blown glass which uses traditional artisan skills. profile to create the familiar infinate illusion. All components of the sizes, is made from a glazed slip cast Earthenware ceramic with twisted into a self-supporting form with a coloured cable to light are hand-blown and together with a historical source of a blown glass and polished stainless steel reflector. It is a highly express and exaggerate the movement of the piece. The two Design ⁄ 2010 inspiration, enable the designer to portray age-old ideas and functional light source, designed to perform well at eye-level as a OLED panels are positioned on the top underside of the steel Description ⁄ Table light methods in a modern and exquisite form. task light, as well as at a higher position, its form can be admired form, creating an ideal task light. Light Emission ⁄ Diffused universally whether in a home or commercial environment. Light Fitting ⁄ T1: G9, 1x max 75W, 220⁄240V, Design ⁄ 2010 Design ⁄ 2010 braided fabric cable, integrated dimmable on/off switch Description ⁄ Suspension light Design ⁄ 2010 Description ⁄ Table light Dimensions ⁄ T1: H695mm, shade Ø370mm x H465mm, Light Emission ⁄ Direct, in-direct and diffused Description ⁄ Suspension light in two sizes Light Emission ⁄ Direct base Ø100mm, cable L1500mm, 13kg Light Fitting ⁄ S1: E27, 1x 23W eco bulb, 220⁄240V, clear PVC cable Light Emission ⁄ Direct Light Fitting ⁄ T1: 2x OLED light panels, 220⁄240V, Materials ⁄ Hand blown Venini glass, anodised aluminium, marble Dimensions ⁄ S1: Ø525mm x H265mm, cable L3000mm, 6.2kg Light Fitting ⁄ coloured PVC cable, in-line on/off switch Compliant ⁄ CE marking Materials ⁄ Hand blown Venini glass, powder-coated steel fixings, S1: G9, 1x max 60W, 220⁄240V, clear PVC cable Dimensions ⁄ T1: H285mm x L500mm x D370mm, Colours⁄ steel suspension cable S2: G9, 1x max 75W, 220⁄240V, clear PVC cable cable L2000mm, 2.8kg Venini talpa grey, matt Carrara white marble with grey cable Compliant ⁄ CE marking Dimensions ⁄ Materials ⁄ Matt powder-coated or polished stainless steel, Venini talpa grey, matt Belgian black marble with black cable Colours ⁄ Venini opaline red, Venini opaline sapphire S1: Ø380mm x H125mm, cable L4000mm, 2.8kg electrical components Venini te amber, matt Belgian black marble with black cable S2: Ø490mm x H170mm, cable L4000mm, 6.2kg Compliant ⁄ CE marking Materials ⁄ Ceramic shade, opal hand blown glass with polished Colours ⁄ Black RAL 9055 with red cable, black RAL 9055 with stainless steel reflector, powder-coated steel fixings, yellow cable, polished steel with blue cable steel suspension cable Ø525 Ø370

Compliant ⁄ CE marking 100 Colours ⁄ White gloss interior with white matt exterior 500 370 Yellow gloss interior with black gloss exterior 265 White gloss interior with metalic copper exterior

695

Column 285 Sebastian Wrong

Collaboration with Venini Globe Sebastian Wrong

Sebastian Wrong’s Column Light captures the spirit of Venini 125 170 through a use of colour and playfulness. A concrete base supports Collaboration with Venini a neck of hand-blown, multi-coloured glass. A cone shade, made from fabric rests on top of the neck. Wrong’s Globe light uses the same techniques as the Column Light, where coloured canes of drawn glass are employed Ø380 Ø490 Design ⁄ 2010 to decorative effect. Pieces of these are put into a mould and Description ⁄ Table light blown, resulting in a uniform shape but unique colour and Light Emission ⁄ In-direct and diffused pattern variations. The shade consists of a hand-blown, perfect Light Fitting ⁄ T1: E27, 1x max 60W, 220⁄240V, clear PVC cable, sphere. The components of the Globe rest on a marble base. inline dimmable on/off switch Dimension ⁄ T1: H710mm, shade Ø365mm x H270mm, Design ⁄ 2010 base L160mm x D160mm, cable L1500mm, 7kg Description ⁄ Table light Materials ⁄ Hand blown Venini glass, natural concrete, Light Emission ⁄ Diffused off-white fabric shade Light Fitting ⁄ T1: E27, 1x max 60W, 220⁄240V, clear PVC cable, Compliant ⁄ CE marking inline dimmable on/off switch Colour ⁄ Venini signature multicolour Dimensions ⁄ T1: H575mm, shade Ø300mm, base Ø160mm, cable L1500mm, 8kg Materials ⁄ Hand blown Venini glass, gloss Belgian black marble Compliant ⁄ CE marking Colour ⁄ Venini medusa with Venini red-white-black multicolour Ø365 160

710 Ø300

160

575

56 57 Pipe Yellow Light, Pink Light, White Light Luca Nichetto Scholten & Bajings ACCESSORIES

Pipe is a multifunctional lamp with a clean, linear form that is Scholten & Baijing’s starting point for Yellow Light, Pink Light, capable of producing different strengths of illumination. The White Light, was the use of colour in combination with a natural lamp’s light source is situated inside a cylindrical, acid-etched working or reading light. The elegant opaque glass shade is glass shade and its intensity can be regulated using a dimmer. This hand-blown whilst the colour is applied by airbrush. Audrey Vase Wood Rug lamp is designed to work equally well in the office and at home. The colour gradient of the shade creates a special effect that Michael Eden Richard Woods appears to be ‘on’ when it is in fact ‘off’. Yellow Light, Pink Light, Design ⁄ 2010 White Light is available as a suspension light in two sizes. Collaboration with Venini Richard Woods uses traditional wood block printmaking Description ⁄ Table light in two sizes with matching wall light techniques to ‘print’ graphic realisations of building materials in two sizes Design ⁄ 2010 Michael Eden found inspiration for his Audrey light and vase in and styles, piecing them together to block out sections of Light Emission ⁄ Diffused Description ⁄ Suspension light in two sizes Renato Giuseppe Bertelli’s interpretation of portraiture with the existing architectural coverings. Woods re-presents normality to Light Fitting ⁄ Light Emission ⁄ Diffused sculpture ‘Continuous Profile, Head of Mussolini, 1933’. Eden has us in a stylised and hyper-real visual formulation of itself. In this W1: G9, 1x max 75W, 220⁄240V Light Fitting ⁄ reworked the concept by replacing the powerful profile of design panels of wooden parquet flooring are stylised and W2: G9, 1x max 75W, 220⁄240V S1: E27, 1x max 60W, 220⁄240V, clear PVC cable Mussolini with one that represents infinite classic beauty, softened in a hand knotted pure wool rug. T1: E27, 1x max 100W, 220⁄240V, black braided fabric cable, S2: E27, 1x max 75W, 220⁄240V, clear PVC cable Audrey Hepburn. The idea of mirror imaging silhouettes inline dimmable on/off switch Dimensions ⁄ resonates in Eden’s design. The outer part is individually Design ⁄ 2010 T2: E27, 1x max 100W, 220⁄240V, black braided fabric cable, S1: Ø285mm x H345mm, cable L4000mm, 2.8kg free-blown where the form is controlled by the skill of the blower, Description ⁄ Rug inline dimmable on/off switch S2: Ø370mm x H450mm, cable L4000mm, 6.2kg the inner part is blown into a mould to form the complex shapes Dimensions ⁄ L3200mm x D2400mm Dimensions ⁄ Materials ⁄ Acid etched hand blown glass, airbrushed paint (yellow, required. The vase uses the contrast between the inside and Materials ⁄ 100% Pure New Zealand wool, hand knotted W1: Ø90mm x H200mm, 1.2kg pink), powder-coated steel fixings, steel suspension cable outside components to juxtapose strong and subtle colours. Colour ⁄ 8 colour pattern with black motif W2: Ø110mm x H255mm, 2.4kg Compliant ⁄ CE marking T1: Ø115mm x H375mm, cable L1500mm, 2.8kg Colours ⁄ Yellow, pink, white Design⁄ 2010 T2: Ø170mm x H435mm, cable L1500mm, 6.2kg Description⁄ Vase Materials ⁄ Interior etched pyrex® glass, powder-coated aluminium Dimensions⁄ Glass Ø335mm x H365mm, Compliant ⁄ CE marking base Ø370mm x H15mm, 9kg 3200 Colours ⁄ Matt black RAL 9017, matt cool grey RAL 7035, Materials⁄ Hand blown Venini glass, matt Carrara white marble gloss red RAL 3020 Colour ⁄ Venini amethyst outer glass with Venini opaline red inner glass

2400

255 345 450

200 Ø370 Blob Ø110

Ø115 Ø170 ™ Ø90 Ø285 Ø370 The Blob desk organiser and paperweight is a celebration of the 375 435 many qualities of glass. Inspired by the bulbous globules of 365 waste material that are a by-product of the glass blowing process, the Blob is a heavy, organic, seemingly molten mass of Print Butte glossy material. Into its surface are pressed indentations that give Sylvain Willenz Scholten & Baijings’s the desk organiser its function as a holder of pens, pencils and ruler, whilst the mass of the piece makes it a natural paperweight. Print gathers within a single bubble of blown glass the A Butte is a traditional Dutch wooden travel case made from components usually found as separate items in pendant lighting. woven and wood veneer. This modern take features Design ⁄ 2010 In effect the shade, the colour, the reflector and the diffuser decorative fluorescent interior paint and hand-drawn printed Description ⁄ Desk organiser and paperweight have all been produced within one gesture. Only the light fitting illustrations. Each tells a story ‘the life of a tuna fish’, ‘the life Dimensions ⁄ Asymmetric oval approx. is added in a second phase of production. This logic and attention of a turtle’ and ‘the life of a tree’, raising the environmental L180mm x D150mm xH80mm to process, applied to a carefully and well-proportioned flat globe, implications of intensive farming and deforestation. Materials ⁄ Hand blown glass offers a bright reinterpretation of a classic piece. Colours⁄ Yellow, black, grey, transparent Design ⁄ 2010 Design ⁄ 2010 Description ⁄ Storage boxes Description ⁄ Suspension light Dimensions ⁄ Light Emission ⁄ Diffused Butte Tuna: Ø220mm x H160mm Light Fitting ⁄ S1: E27, 1x max 75W, 220⁄240V, clear PVC cable Butte Tree: Ø165mm x H210mm Dimensions ⁄ S1: Ø400mm x H300mm, cable L4000mm, 2.8kg Butte Turtle: Ø250mm x H130mm

Materials ⁄ Hand blown glass with diffuser relief, powder-coated Materials ⁄ Oak veneer, black printed illustration, 80 steel fixings, steel suspension cable paint, UV protective clear matt Compliant ⁄ CE marking Colours ⁄ Colours ⁄ Interior etched grey, interior etched white, Butte Tuna: Pantone 805M interior gradated grey, gradated white Butte Tree: Pantone 801M interior Butte Turtle: Pantone 806M interior

Ø165 Ø220 Ø250

160 130 210

300

Ø400

58 59 Butt Hang Soft Grid Store ™ ™ ™ ™

Versatile, comfortable and economical, this stackable Constructed in a concertina pattern, a gentle pull unfolds the These luxurious double-sided Merino wool blankets are a pure The gently obtuse angles to be found on this collection of storage stool is a hard-working piece of furniture. The Butt stool’s Hang coat stand to its full width. When closed, the coat stand is celebration of pattern and colour. The grid that forms part of the jars are inspired by the forms of space capsules. The unlikely ergonomic top borrows its form from a generic tractor seat. compact and neat, easy to store or transport. When expanded it is textural pattern is stitched on top of the woven blankets creating homage to all things space age is continued in a palette of subtle Within this are three holes (reminiscent of those found in bowling a most purposeful piece of furniture; its design allows for plenty a decidedly striking graphic and a fascinating finish. Pastel and coloured glazes including metallic. Additional detail is given by balls) with which to lift the piece. A more lateral piece of design is of garments to be stored upon it and a series of hooks at a lower fluorescent colours combine with luxurious textures and unique the application of a matt glaze on the base of the jars: allowing hard to find. Available in six playful colours, the Butt stool is both level mean children can use it too. design in these extraordinary pieces of textile design. Soft Grid a convenient grip to the work surface. The jars are available in for indoor and outdoor use. is available in three different colour options. four sizes. Design ⁄ 2010 Design ⁄ 2010 Description ⁄ Coat stand Design ⁄ 2010 Design ⁄ 2010 Description ⁄ Stool Dimensions ⁄ H1600mm x Ø300mm (adjustable) Description ⁄ Blanket Description ⁄ Storage jars Dimensions ⁄ H490mm x L410mm x D380mm Materials ⁄ Natural waxed ash, nylon hooks Dimensions ⁄ L1800mm x D1400mm Dimensions ⁄ Ø140mm x H140mm, Ø140mm x H175mm, Notes ⁄ Suitable for outdoor use, polypropylene includes UV Hook colours ⁄ Black hooks, blue hooks, red hooks Materials ⁄ 100% Merino wool Ø140mm x H210mm, Ø215mm x H180mm stabilisers for minimal fading Colours ⁄ Fluorescent pink grid pattern, Materials ⁄ Matt and gloss glazed ceramic, lid, silicon seal Materials ⁄ Polypropylene fluorescent yellow grid pattern, purple grid pattern Colours ⁄ Gloss yellow with matt white base, gloss white with matt Colours ⁄ Black, white, bright blue, navy blue, red, orange white base, gloss grey with matt black base, matt black with gloss black base, metalic platinum with matt base Ø300

1400 1400 1400

410 380 Ø140 Ø140 Ø140 Ø215

1600 140 175 210 180 490 1800 Hold Dip ™ ™ Spin The gentle overspill of material created by the 90º fold of these ™ Here is a series of functional tabletop vessels. Produced in ceramic hooks is a pleasing and wholly unusual feature. In direct a textured matt black glaze these products explore the comparison to a more industrial, and expected aesthetic, the Spin is far from a static piece of furniture. Thanks to its boundaries of ceramic manufacture – their distinctive, strong kinked hooks inspire comparisons to flesh and are curvaceous mismatched castor wheels this table is able to follow you forms not instantly recognisable as ceramic at all. Each of the five in form. The choice of glazed ceramic accentuates the tactility wherever you wish. Spin’s oddly contrary feet are the source pieces that make up the collection play with the scale of the same of these objects. Hold is available in nine colours. of its unique character. Spin is a flat pack piece of furniture, circular elements. The Dip dishes are like clear punctuation thereby furthering its functional nature. marks within a room. Design ⁄ 2010 Description ⁄ Wall hooks Design ⁄ 2010 Design ⁄ 2010 Dimensions ⁄ H80mm x Ø30mm Description ⁄ Table Description ⁄ Table top vessels Materials ⁄ Gloss glaze ceramic, steel fixing Dimensions ⁄ L500mm x D500mm x H500mm, Dimensions ⁄ Ø150mm x H120mm, Ø150mm x H220mm, Colours ⁄ White gloss, black gloss, navy blue gloss, L900mm x D600mm x H400mm Ø150mm x H320mm, Ø280mm x H60mm, Ø350mm x H70mm pink gloss, orange gloss, grey gloss, yellow gloss, Materials ⁄ Wood conglomerate, high-pressure laminate, Materials ⁄ Matt glazed ceramic, cork metalic gold, metalic platinum powder-coated steel fixings, castors Colour ⁄ Matt black Colour ⁄ Black (guideline ref RAL 9017)

30 Ø280 Ø350 Ø150 Ø150 Ø150 500 900

80

600

60 70 120 220 320 400 500

60 61 SEATING TABLE STORAGE

Crash Sessel Bend Amsterdam Armoire Konstantin Grcic Martino Gamper Sebastian Wrong Scholten & Baijings

Crash is an upholstered armchair. It consists of a tubular steel With his exhibition ‘100 chairs in 100 days’ Gamper celebrated the The Bend side table is focused on material and attention to Amsterdam Armoire is a typically Dutch design, a traditional chair frame and a loose foam upholstered cover. The project fact that there is no perfect chair by studying and reassembling detail. The slip cast production of the ceramic table has a piece of furniture taking on a contemporary form. Made from reinterprets the construction of an upholstered armchair by every archetype in a somewhat impulsive fashion. His creation semi-translucent glaze, which in turn resonates inconsistencies specially printed ‘High Pressure Laminate’ the design in both separating the supportive frame from the soft upholstered of the Sessel chair was driven by a fascination of the traditional within the surface finish. Wrong experimented with the aesthetic decorative and functional, with upper and lower cabinets and a upper. A two-inch thick layer of foam, which is moulded to fit bentwood archetype and the way in which its industrialised of folds in tube structures using kinked balloons, and has central drawer across the full width. Special details include two the metal frame, determines the formal language of the chair. production has been mastered throughout its 150 year long subsequently emulated the detail and its tangibility with the front feet made of pink hand-blown glass and still life pictures Characteristics for Crash include its soft and voluminous curves. history. Aspiring to create his first production chair, Gamper Bend side table. This minimalist design with its kink detail printed on the inside of the cabinet doors. These still lives are Crash is available in leather or fabric, suitable for both residential dissembled the bentwood archetype to then rejoin the provides a versatile side table. made in collaboration with the Dutch photographers Maurice and contract applications. components to create the Sessel’s form. Rather than aiming to Scheltens & Liesbeth Abbenes. revolutionise the bentwood chair, Gamper decided to tweak the Design ⁄ 2010 Design⁄ 2010 iconic original. He intelligently added strength to the joint, Description ⁄ Table Design ⁄ 2010 Description⁄ Seating through bentwood panels eliminating the need for a Dimensions ⁄ Ø450mm x H550mm Description ⁄ Cabinet Dimensions⁄ L1000mm x D720mm x H800mm, seat height 430mm supportive ring and creating a more angular aesthetic. Materials ⁄ Glazed ceramic, powder-coated steel fixings, Dimensions ⁄ L1215mm x D600mm x H1725mm Materials ⁄ Powder-coated tubular steel, foam, internal lead weight Materials ⁄ Fibre board, printed laminate, steel, hand blown glass removable upholstery cover Design ⁄ 2010 Colours ⁄ Grey top with grey base, black top with yellow base, Colours ⁄ As shown Upholstery ⁄ Black technical fabric with black leather, Description ⁄ Chair turquoise blue top with pink base Printed laminate ⁄ grey, grey grid pattern, multicolour grid red technical fabric with red new wool fabric Dimensions ⁄ L470mm x D505mm x H770mm, seat height 440mm pattern, black and white still life photography Materials ⁄ Beech wood, natural lacquer Colours ⁄ Natural, yellow stained frame with grey stained backrest

450

1000 720 1215 600

470

550

800

770 Blow Konstantin Grcic Jumper

Bertjan Pot Collaboration with Venini 1725

The Jumper chair consists of one continuous woollen knitted Konstantin Grcic’s Blow uses Venini’s artisan hand-blown glass cover, with qualities very much like that of a jumper, the knitted to create a voluptuous organic form. Blow explores the physical New Order cover is worn over the wooden structure and bent steel legs. The boundaries of hand-blown glass. The fascination of the piece lies Stefan Diez cover is knitted on a ‘knit and wear’ machine that is skilled for in the large scale of blown glass as well as in the combination of clothing garments but this is where the fashion and design translucent Venini colours. Stefan Diez approaches practicality of form and material before production processes divide. Once the garment is completed it is he contemplates the aesthetic of his design. The powder-coated then run through a high temperature wash to attain a felted Design⁄ 2010 aluminium industrial exterior of Diez’s modular and stackable seamless and upholstered effect, eradicating most of the stretch Description⁄ Table storage system now has the option of wooden doors. The highly from the wool and presenting a high quality fabric that is suitable Dimensions⁄ versatile aspect of the modular system, allows New Order to be for contract application. H415: Base Ø405mm, asymmetric oval top approx. made up into a number of configurations, such as open-storage L500mm x D450mm, 16kg units, room dividers and multiple tiered shelving units, suitable Design ⁄ 2010 H515: Base Ø410mm, asymmetric oval top approx. for varying contract environments. The addition of the wooden Description ⁄ Chair with arms L500mm x D450mm, 17kg finish doors softens the metal edges for more domestic settings. Dimensions ⁄ L735mm x D700mm x H745mm, seat height 410mm Materials ⁄ Hand blown Venini glass Notes ⁄ Upholstery cover knitted as one piece Colours ⁄ Venini sapphire, Venini red Design ⁄ 2010 Materials ⁄ Powder-coated steel, beech ply seat and back, foam, Description ⁄ Shelving fixed non removable felted wool cover Dimensions ⁄ Upholstery ⁄ Dark grey and light grey stripes, Basic: L1000mm x D300mm x H485mm red and light grey stripes Extension: L1000mm x D300mm x H405mm Ø405 Ø410 Notes⁄ Maximum height 2105mm Materials ⁄ Powder-coated aluminum, ply (optional) Colours ⁄ Basic⁄ Anthracite grey RAL 7016, signal white RAL 9003 735 700 415 515 Extension⁄ Anthracite grey RAL 7016, signal white RAL 9003, traffic red RAL 3020, sulphur yellow RAL 1016 Doors ⁄ Natural, anthracite grey stained, orange stained 745

1000 300 1000 300

485 405

62 63 THREE. NEW FINISHES Heidi NEW FINISHES Sebastian Wrong For full Heidi range see product 23 in Catalogue No.6

Pole Light Paul Cocksedge For full Pole Light range see product 7 in Catalogue No.6

66 67 Zero–In WrongWoods BarberOsgerby Richard Woods & Sebastian Wrong For full Zero–In range see product 34 in Catalogue No.6 For full WrongWoods range see product 44 in catalogue No.6

Stack Raw Edges ⁄ Shay Alkalay For full Stack range see product 39 in Catalogue No.6

68 69 WrongWoods Richard Woods & Sebastian Wrong NEW FINISHES 2010 launch⁄ Pink with blue

Design ⁄ 2007 Description⁄ Storage Pole Light Zero-In Night table: L585mm x D355mm x H595mm Paul Cocksedge BarberOsgerby Chest of drawers: L1090mm x D510mm x H735mm Low cabinet: L1500mm x D405mm x H645mm 2011 launch⁄ Black 2010 launch ⁄ White with Nissan orange interior Long low cabinet: L2600mm x D405mm x H645mm Materials⁄ Plywood, timber, paint, clear lacquer Design⁄ 2008 Design⁄ 2008 Colours⁄ White with green, yellow with red, white with black, Description⁄ Table light with matching floor light Description ⁄ Low table pink with blue Light Emission⁄ Direct and diffused Dimensions⁄ L900mm x W900mm x H350mm Light Fitting⁄ Materials⁄ Satin-finish polyester moulded compound, T1: 3x white LED, 220⁄240V, clear PVC cable, inline on⁄off switch 4mm toughened glass F1: 6x white LED, 220⁄240V, clear PVC cable, inline on⁄off switch Colours⁄ White RAL 9003, umbra grey RAL 7022, black RAL 9005 Dimensions⁄ (with black tinted glass), exterior White RAL 9003 with Nissan 1090 585 T1: H750mm, base Ø140mm x H160mm, cable L1500mm, 2.2kg orange interior (approx. reference: Pantone 165C) 510

F1: H1770mm, base Ø250mm x H260mm, cable L2000mm, 7.8kg 355 Materials⁄ Clear acrylic rod, concrete base, paint (optional) Compliant⁄ CE marking 595 Colours⁄ Natural, black RAL 9017 735 900 1090 1500 2600 585 1005 900

510 405 405 Ø250 355 Ø140 340

350

595 380 735 645 645 Stack 260 750 1770 160 Raw Edges ⁄ Shay Alkalay

2010 launch ⁄ Wood veneer Heidi Sebastian Wrong Design⁄ 2008 Description⁄ Tower of drawers 2010 launch ⁄ Height 650mm, natural oak Dimensions⁄ 8 drawers: H1080mm x L565mm x D615mm Design ⁄ 2008 13 drawers: H1780mm x L565mm x D615mm Description ⁄ Stool Materials⁄ Birch plywood, fibre board, steel, clear lacquer Dimensions⁄ Colour Palettes⁄ Green, red, neutral, wood veneer H500mm x L450mm x D425mm H650mm x L450mm x D425mm H800mm x L450mm x D425mm Materials⁄ Heat-formed acrylic, polyurethene, european oak, oil Colours⁄ White RAL 9003, black RAL 9005, red RAL 3001, natural oak 565 615 565 615

425 450 450 450

1080 1780

500 800 650

70 71 New products may be subject to minor changes in specification, size and finish due to production developments. Please note that fabric and colour swatches are for reference only and may differ in reality. All the designs shown here are protected under copyright law. Established & Sons has the property rights to manufacture and sell these products and holds the exclusive manufacturing and distribution rights worldwide. Copying will be prosecuted.

Product Photography by Peter Guenzel (pages 34 – 69) Printed by Principal Colour Ltd

Established & Sons 5–7 Wenlock Road, London, N1 7SL, United Kingdom Phone +44 (0)20 7608 0990 Fax +44 (0)20 7608 0110 Email [email protected] www.establishedandsons.com Workshop

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Pewter work