It has been a busy, award-winning few years for Michael Anastassiades. The Cypriot-born, London-based designer picked up a prestigious Compasso d’Oro from the Milan-based Association for Industrial Design in 2020 and was distinguished as an Officer of the Order of the British Empire (OBE) last year. This week he also won the London Design Medal, which was presented during the city’s namesake design festival. The award is a recognition of more than three decades of outstanding work from his studio, which commands international attention for its refined approach to lighting design and partnerships with brands, including Flos.
Tell us about your design ethos.
My work is about layering. You have to introduce layers otherwise your work will remain very superficial. If you’re addressing only one small thing then there is no chance that the project will have longevity or relevance. You need to keep people excited about something that they see every day. Excitement should grow if something, from furniture to lighting, is part of your house – every time that you use it should trigger your imagination.
How is this ethos expressed in your work?
I’m able to express it through my own brand. We never put any protective layers on our products. The brass, for instance, is unfinished, so it develops its own patina over time. You can polish it if you want. This allows you to build a relationship with the object.
How does this approach speak to the design industry more broadly?
It’s important to remember that you cannot control everything. This is what makes an object feel alive. Take vintage pieces as an example – there’s amazing demand for them because they have had a life that is clearly visible in the way that they have patinated. But a lot of the companies are now putting protective layers, such as lacquers, on their products. It means that they can’t age and remain pristine. We don’t see leather upholstery developing beautiful cracks and folds. All of a sudden, everything looks plastic.
You studied civil engineering, then industrial engineering, and then immediately set up your studio after graduation. Why take this route?
I started my studio because I thought that I had something different to say. As a model, my planned approach didn’t seem to exist around me. Usually you have a model of somebody – a practice or an individual designer – that has done something amazing that you can relate to. And it seemed that at that time, in London in the 1990s, there was nothing like I wanted. Similar approaches had existed in the 1960s – radical designers, especially in Italy, were doing amazing things with extreme and conceptual design ideas. I wanted to do that but serve the time that we were living in.
What design movement has influenced you the most?
Modernism is what I’m drawn to. But at the same time, it doesn’t mean that I am absolute in that relationship. I allow space for everything else to exist too.
What’s a recurring source of inspiration?
I love art. It really nourishes my mind. I’m fascinated by people’s creativity. I tend to venture to a museum, exhibition or gallery every weekend. It doesn’t matter whether they’re famous institutions or small ones – I believe that every place has something special to offer if you’re open to it.
When you started your studio, you also worked as a yoga teacher to supplement your income. How did this other career affect your work?
Everything you do in life affects the next thing that you try. Yoga definitely was and is a big part of my life. It taught me to approach what I do from an outside perspective. Whenever I feel that I’m too invested in design, it allows me to step back and be critical of what it is that I’m doing for myself.
What’s a priority for you and the industry going forward?
Design is deeply personal and it’s also a dialogue. As a designer, you have something to say with your products and it’s an opportunity to trigger somebody’s imagination. There has to be an open door for the dialogue to pass through and people should want to engage with it.
On Monday night we hosted a small party at our café and shop in Paris to celebrate this year’s Monocle Design Awards. With seven of our winners coming from France – and our newest outpost truly hitting its groove – it felt like the right moment to have, well, a moment. French designers’ significant representation in our awards attests to the high value that the country places on impeccable craftsmanship. My suspicion is that this attitude comes from the fact that France still prizes highly specialised production that’s rooted in the tradition of the atelier. The event also pulled in winners from across the globe who happened to be passing through the French capital and could pick up their Harry Thaler-designed paperweight-cum-trophy. The night offered a chance to muse on some of the themes raised by the awards. Here are a few takeaways.
The importance of a good client
Austrian couple Lisa Rümmele and Johannes Glatz joined us in Paris after winning the award for best new hotel. The pair’s conversion of a 17th-century brewery into the elegant eight-room Stadthotel Kleiner Löwe was a standout in its category. They worked with Herzog & de Meuron on the project but the architecture firm initially declined. “They said that it’s too small,” says Rümmele. “And, that when the clients are a couple, it becomes emotional.” Thankfully, the practice eventually came round. The hotel is a reminder that smaller clients who are personally invested in the outcome can make for exceptionally successful architecture.
More than shopping
French department store Le Bon Marché picked up the award for best retail installation for the second year running. This time the installation was a love letter to dogs of all shapes and sizes. Called “Je t’aime comme un chien”, it included bone chandeliers and speciality products ranging from Barbour raincoats to a poodle-motif tie from Cinabre. In the retail world, where moving units is all important, Le Bon Marché knows that sales needn’t come at the expense of fun.
Tailored responses
Our residential architect of the year, Manuel Cervantes (pictured above, left), does not have a signature style so much as a signature approach. Over a glass of chablis, Cervantes reminded me of the importance of listening. “As an architect, your practice isn’t about personal expression,” he said. “It’s about responding to the realities of a place, a culture, a moment in time. You can’t just replicate old ideas – you have to respond to today’s conditions.”
Eye for the details
Graphic designer Yorgo Tloupas told us about his branding work, including signage, for the 27/4 building in Paris. Among the project’s highlights are custom versions of fire-safety notices and the venue’s alcohol licence. “You might not be able to notice these details unless you really pay attention,” says Tloupas. “But the overall effect matters on a subconscious level.”
Looking back in wonder
The French crew of Milan-based conglomerate Flos B&B Italia Group joined us for a celebratory drink after two of its brands picked up awards. Both the Bellhop Glass T lamp and Flair O’Maxi dining chair were inspired by products that existed in the archives. They show how ideas from the past can be a springboard for innovation when they are updated for modern life.
Monisse is Monocle’s design editor. Find the complete Monocle Design Awards online here, or in print in our May issue which is on newsstands now.
Another year, another iteration of the Monocle Design Awards, in which we celebrate the best in the sector over the past 12 months. While the full report can be viewed here (or in the pages of the magazine), this column offers a moment to reflect on the key themes that our team observed during our prize reporting.
1.
Focus on France
This year, France has picked up a record seven of the 50 awards. It’s a testament to the high value that the country places on impeccable design. My suspicion is that this comes from the fact it still prizes highly specialised production, rooted in the tradition of the atelier.
2.
Look back in wonder
Many brands are showing that the past can be a springboard for innovation. The likes of Ikea, Flos and independent outfit Astep have refreshed works that have enjoyed enduring success in previous decades, adding contemporary modifications to bring them up to speed for modern life.
3.
Leaders matter
Good design can only make a difference if there are people to champion it. It’s why we’re celebrating leaders such as Marva Griffin, who has nurtured generations of talent through Salone Satellite, and Zanele Kumalo, whose recently launched Design Week South Africa has elevated the status of the discipline in the country.
4.
Invest in the little things
We often talk about designers overseeing the creation of everything “from the spoon to the city”. It’s the former that I want to spotlight here. Investing in the small things can have an outsized effect. Take, for example, Christofle’s Concorde cutlery set. Holding a well-made knife and fork can enhance a meal, which in turn can elevate an evening – and your overall sense of wellbeing too.
5.
Let there be light
We have a record number of lights featured in this year’s edition. We cover everything from wall-mounted sconces to lamps and more. Why? Well, there are few objects whose output can have such an immediate effect on our lives. Light affects our health, energy levels and mood. You might as well invest in a good one.
