By Jeanne Tan /asdf 18-03-2009

Ask anyone in the design industry their opinion about limited edition design and it will almost never be indifferent: people are either exceptionally enthusiastic, vehemently opposed or sit on the fence, seeing both sides of the story. Whether we like it or not, limited edition design is here to stay.

The book Limited Edition - Prototypes, One-offs and Design Art Furniture - documents the growing phenomenon in contemporary furniture design. Written by Sophie Lovell and published by Birkhäuser, the book aims to present all sides of the limited edition story from the supporters to the critics. Not intended as a book about design concepts, it features experimental work of designers who view themselves as somewhat 'explorers' in the field, pushing the boundaries of design. Seen are the usual Design Art suspects along with younger designers and new names. Visually, there is a fantastic and diverse range of works from the last few years, many not often seen and some downright hideous. Interviews with key designers, members of the design industry and gallerists/manufacturers provide a strong basis for the documentation.

The book's main message is that Limited Edition/Design Art means many things to many people, hence one of the reasons why it is difficult to classify. Lovell writes, "For some it is design; for others it's art. It is both serious research and creative expression; it is investment, both conceptual and financial; and its worst it is trophies and fashion, price tags and status symbols." The designers are presented in the first two chapters: 'Prototypes' looks at processes and 'One-Offs' examines the demand for uniqueness in a globalised world and return of craft. For the designers, this represents a new freedom: a new platform to present work which is not confined to commercial constraints, a chance to further develop their research and ideas and importantly innovate. Most interesting are the chapters featuring insights from the business side of limited edition design. 'Editions' briefly outlines the history of small scale work and debates the naming classifications like the inappropriateness of the term 'Design Art' and how 'Prototype or Experimental Design' just don't sound as sexy. Gallerists and niche manufacturers, who have been a new driving force in the way design is commissioned, share their thoughts in 'The New Patrons'. The business of selling and the changing nature of the collector is discussed in 'Auctions and Attitudes': and it's big business indeed. The buying of design is now not just limited to an educated elite but is now accessible to anyone with a fat enough wallet. And for those people, for whom luxury status symbols have become almost commonplace, limited edition design is a fashionable finishing touch to match their art and architecture. Lovell suggests that "this may also explain why contemporary design objects being sold at auction are increasingly presented in a retail context rather than the traditional collector's format".

Dutch designers have been active in this field for quite some time. Featured in the book are Maarten Baas, Sarah van Gameren, Pieke Bergmans, Studio Makkink & Bey, Nacho Carbonell, Design Drift, Piet Hein Eek, Ineke Hans, Hella Jongerius, Joost van Bleiswijk and Kiki van Eijk, Joris Laarman, Minale-Maeda, Wouter Nieuwendijk, Suzanne van Oirschot, Satyendra Pakhale, Tejo Remy and Studio Job. "At the beginning of my career," says Richard Hutten, "when we first showed our work with Droog design, it was considered to have too much craft and not be suitable for mass production. This disadvantage has turned into an advantage over the years." Maarten Baas claims to make limited edition for purely practical reasons. "I don't set out to make anything as limited edition. My things are expensive to make and I don't have enough people to make a hundred copies, so I limit them because I have no other choice...Limited Editions, the way I see them, are things you put a lot of effort into and really want to make the best of." Jurgen Bey supports the investigative aspect of limited edition work, it helps develop ideas from their research. "We do these things because it makes it possible to develop an academic way of working within a studio." Jongerius sees it as a restriction-free way to promote innovation. "I'm trying to push the boundaries of my profession, and my profession is making functional pieces for a market. I'm trying to come up with new ideas for this machinery, to search for a new grammar in my field."

It's no secret that there is more money involved in limited edition work but that's not a bad thing considering not all projects that designers undertake are cash-cows. And it's also a well known fact that design is an underpaid profession. However there are plenty of parties eager to cash in on limited edition objects. Gallerist Libby Sellers fears "they are destroying the market, but at best they are encouraging the injection of capital into a phase of conceptual exploration in the design world." Let's hope the majority of collectors are savvy enough to see through the hype. At the end of the day, authenticity will be the deciding factor.

Limited edition
Prototypes, One-Offs and Design Art Furniture
Lovell, Sophie
2009, 255 p. 380 illus. in color., Hardcover
ISBN: 978-3-7643-8895-9
Birkhäuser  

Add to favorites