Window blinds have long been a means of providing privacy, filtering light and controlling temperature. They’ve fulfilled these pragmatic functions quite well - becoming increasingly savvy at saving energy and offering additional operational functions to increase the user’s control. But London-based designer Helena Karelson takes the window blind in a new direction with Contour Blinds. Instead of adopting the standard style and shape - she reinvents the window blind as a play of light and shadow.

Contour Blinds. Designed by Helena Karelson.

As designers or design students, you likely remember building topographical models composed of a series of section cuts (laser-cut in recent years, but hand-cut back in the day…).  Karelson has used each of these section-cuts to create the individual slats that make up the window blinds. In their horizontal position - the slats compose the topographical model, filtering light through the irregular gaps to project “a rich tapestry of sunbeams into the interior space.”  In the vertical position, light from behind the window frames the blinds perfectly in a subtle, warm glow.

“The series was born of the fascination with light and the relationship between form and shadow.”  The designer explains.  Karelson designed each of the Contour Blinds to leave minimum waste post-production. First edition ‘Contour’ blind premiered at this year’s D&AD New Blood exhibition, where it won the prestigious Best New Blood award.  The Estonian designer also received an award from the sustainably-focused natural resource supplier Coillte for Best Use of Materials.

If you’re anything like me, when you see the word “Deadgood,” your mind immediately travels back in time to 19th. century South Dakota and the exceedingly brilliant—if tragically short-lived—HBO series about the Wild West. On second glance, however, you’ll realize that that there’s a certain “g” upsetting your predilections for authentic Americana, and that the place here is London, the time the dawning of the new millennium’s second decade.

Capsule Chair. Designed by Deadgood.

Deadgood’s principals Dan Ziglam and Elliot Brook announce themselves in a genial, if confident, manner: “Hello,” says their website’s homepage, “We are deadgood and everything we do is deadgood.” That assertion may remain to be seen, but if their recent Capsule Collection is any indication, there’s a high probability of excellent product herein. Ziglam and Brook founded the company in 2004 after finishing studies at the UK’s Northumbria University. Their stated aim is to “offer an excellence in design and an uncompromising commitment to quality… exploring and experimenting with new materials and manufacturing processes whilst simultaneously expressing our distinct personalities.” The Capsule pieces give the truth to this objective. With enthusiastic approbation from none other than The Sunday Times (“as much fun as chewing a flying saucer while bouncing on a space hopper”), these furnishings announce themselves to the globosphere with a fortuitous synthesis of daring, whimsy, and retro panache.

The central metaphor of the collection is that of the capsule—that pervasive icon of 50s and 60s kitschy paranoia. But beyond providing a fun and engaging cultural point of reference, the capsule shape makes for an ergonomic and comfortable profile. All the better to decorate the landscape of this sofa, chair, and kick stool with an assortment of differently-sized, -shaped, and -colored buttons (an homage to capitonné, the upholstery technique recently revitalized in Patricia Urquiola’s Bohemian Collection). Set against the neutral fabric, which is itself assembled—hodgepodge—from textile off-cuts from the renowned Bute range, the buttons provide the perfect dash of literal and metaphoric color, with an evocative result. Yes, there’s the mise-en-scene of the 60’s conception of a space-age future, but there’s also a touch of The Jetsons, not to mention the capsule itself, which, for me, was immortalized as an icon of humor in this line spoken by Johnny, the flamboyant steward from 1979’s Airplane: “Oh, it’s a big pretty white plane with red stripes, curtains in the windows and wheels and it looks like a big Tylenol.” Deadgood’s Capsule Collection won’t fail to bring a smile to your face.

Via Despoke.

Emma Gardner rugs fuse various cultures, both in their inspiration and their construction. The rugs, all based on original designs created by Emma Gardner, employ either hand-knotting or hand-tufting. The hand-knotted rugs are made by Tibetan weavers in Nepal, using 100% Tibetan wool and/or Chinese silk. The hand-tufted rugs are made in India of 100% New Zealand wool. The age-old techniques, as well as the origin of the materials, can therefore be aptly described as global.

Chinese River. Designed by Emma Gardner.

But Gardner’s international flair goes one step further, since she takes her artistic cues from wildly disparate locales: “Born in Japan, reared in NYC and now living in rural Connecticut, Gardner’s muses reflect this journey. Primary influences include Asian art, urban fashion, pop art and natural forms.” The resulting fusion works with varying aesthetic tastes—Emma Garner rugs are at home with everything from sheet glass to cherry wood. Whole Baby Fish in acid green shows a large fish in action, its body curving against the tide. This design illustrates Emma Gardner’s penchant for “enlarged and feverishly colored” patterns. Hand-knotted using Chinese silk on Tibetan Wool ground, the rug is produced with 100 knots per inch and a 5mm pile. Available in standard 6’ x 9’, 8’ x 10’, and 9’ x 12’, Whole Baby Fish can also be custom sized.

Of the hand-tufted options, Chinese River exemplifies Gardner’s “kimono designs pared down graphically and updated with contemporary color.” The New Zealand wool has an 8mm/10mm cut and loop pile. Chinese River offers bold textures and colors on a neutral background of antique white. Available in 6’ x 9’, 8’ x 10’, and 10’ x 12’, Chinese River can also be measured to fit your space’s particular dimensions.

Aperture. Designed by Emma Gardner.

Broken Circles. Designed by Emma Gardner.

Rain in Room. Designed by Emma Gardner.

Whole Baby Fish. Designed by Emma Gardner.

Curi. Designed by Emma Gardner.

Chinese River in room. Designed by Gardner.

There are also Emma Gardner rugs which are pared down and geometric. Aperture and Curio use a repeat of boxes; Broken Circles and Rain use a pattern of circles. Whether you want organic shapes or exotic butterflies, expressionistic flowers or Chinese Maple branches, subdued colors or vivid hues, Emma Gardner will deliver a hand-made rug using quality materials. All her rugs are independently certified as child-labor-free by GoodWeave, so you can rest assured that the art beneath your feet wasn’t produced by stepping on someone else’s toes.

Is it possible to get the look of handwoven fabric if it’s not handwoven? That’s what interior designer Suzanne Lovell and handweaver Sam Kasten sought to answer with their joint venture, Twill Textiles. So far, their line of unique fabrics has indeed worked to replicate the style and feel of handweaving. Headquartered in Chicago, Twill Textiles offers a wide range of fabrics designed for both contract and residential markets, including their Climatex® Lifecycle™ Home Collection, “a line of luxurious, sustainable eco-friendly fabrics designed specifically for the home.”

Twil Textiles. Designed by Suzanne Lovell and Sam Kasten.

Twill Textiles’ new releases offer a wide array of choices, especially in the way of unusual and rich textures. Glazed Linen, an Italian 88% linen/12% polyurethane blend, comes in warm colors such as Dark Red and Espresso, neutral tones such as Natural and Khaki Green, and cool hues such as Lagoon and Silver. The “glaze” gives this linen a sheen “you won’t believe.” Due to the success of their previous Snake pattern in chenille, another new fabric is Silkskin, composed of 55% silk and 45% linen. Also Italian, Silkskin recreates the Snake pattern with the added luxury of silk. Available in appropriately reptilian Sage, Shale, Copperhead, Steel, and Pearl.

An addition to their sustainable collection, Bricks is “a modern, bold pattern that can live just as easily in the contract world as it does in the comforts of home.” Featuring a geometric maze repeat, Bricks is a heavier textile with its 91% wool and 9% ramie. From Switzerland, Bricks earns the independent Cradle to Cradle certification, as well as LEED points. With colors as bold as Peacock, a red and blue combination, and Lagoon, a grey and charcoal pairing, Bricks is a good choice for both primary and accent fabrics. Twill Textiles succeeds in transferring Sam Kasten’s handcraft onto machine looms without losing “the heart and soul of handweaving.”

We’re broadening our coverage here at 3rings. Previously, our tours of the far east were heavily focused on China and Japan (and truthfully, they continue to be, since those countries are taking over the world! cue ominous music). But alas, we are moving outwards and onwards. Last week, Joseph Starr looked at Slovenia with his Light Chair. Now it’s all about Turkey. Sadly, our designer does not hail from Istanbul—I could have gotten a lot of mileage out of that, as in “Istanbul, not Constantinople, yes it’s Istanbul not Constantinople … so if you’ve a date in Constantinople, she’ll be waiting in Istanbul” (They Call Me Giants allusion).

Lemon Sink. Designed by Cenk Kara.

Our designer and 3D visualization artist, Cenk Kara, calls Mugla home. And what do I know about Mugla? Only that it’s on the Aegean Sea and that Cenk Kara lives there. By extension, I also know that a very interesting sink was conceived in Mugla, since it’s in Kara’s portfolio. A lover of sinks, Kara has designed quite a variety—all featuring unique, organic shapes. Butterfly mimics the sinuous curves of the creature’s wings and Organic features a natural looking creek bed (or a sand-swept dune or a woman’s body, depending on your proclivities). Kara’s Lemon Sink, however, is the real cream of the crop. Available in vessel, inset, and wall-mounted models, Lemon Sink also comes with single or double basins.

The sink’s shape resembles a halved lemon, with the signature narrowing, curved ends of the citrus. In white, Lemon Sink pays tribute to the oval fruit; in yellow, Lemon Sink is more literal. The combination of bright yellow against stark white is bold—or should I say tart? Any of the variations are luscious and fruity delicious. Like lemons, some varieties of Lemon Sink are sweet, some tangy.