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In Good Company: When the big guys of Collectible Design help emerging designers shine

In Good Company: When the big guys of Collectible Design help emerging designers shine

The third edition of In Good Company, an annual exhibition group showcasing talented emerging designers, opened its doors mid-September in New York and will be on display until October 11, by appointment only. Its founder, designer Fernando Mastrangelo, has joined forces with the Popess of Design, the one who has brought many designers out of the shadows and into international fame, Rossana Orlandi. The best protagonists of the present and future design, whose names are to be remembered, have been carefully selected by the duo for this edition.

 

 

In Good Company, the good intention

 

We have always been impressed by how good the design world is in general. Indeed, when in certain fields the competition is such that it is impossible to turn to others, designers and design actors in general, have this propensity to help each other. It is not uncommon to see designers working together according to each other's expertise, lending tools, premises, or a listening ear to get an outside look at their work. The grown-ups help the little ones, which always gives us a little more confidence that this field is ideal and fantastic.

 

And the same is true for the curators-designers relationship, each one doing his best to advance the reputation of his favorite and protected creators. Fernando Mastrangelo has therefore created the accessible dream for these young talents, to see their project carried and supported by a designer with an exemplary background, and whose reputation is well established. With In Good Company, the American designer advocates in his own way a kind of short cycle of design, that of self-promotion, or the promotion of design by his actors themselves, rather than by peripheral trades such as communication.

 

In Good Company, Fernando Mastrangelo calls on the wise eye of Rossana Orlandi

In Good Company, Elyse Graham, Aperture chair

In Good Company, Fernando Mastrangelo calls on the wise eye of Rossana Orlandi
In Good Company, Fernando Mastrangelo calls on the wise eye of Rossana Orlandi
In Good Company, Fernando Mastrangelo calls on the wise eye of Rossana Orlandi
In Good Company, Fernando Mastrangelo calls on the wise eye of Rossana Orlandi
In Good Company, Fernando Mastrangelo calls on the wise eye of Rossana Orlandi
In Good Company, Fernando Mastrangelo calls on the wise eye of Rossana Orlandi

 

 

Giving a framework to Collectible Design

 

This exhibition, which is free of all commercial costs, also frees designers from any creative constraints. Giving them this freedom is the assurance that the projects presented will not have any limits, whether in terms of pure form, materials or intention. This idea is based on Fernando Mastrangelo's observation that, although notwithstanding its definite emergence, the Collectible Design is still a vague genre, bringing together under its wing sculptural, conceptual, undefinable works, in short, those who dare. 

 

Partnering for the occasion with Rossana Orlandi, allows the In Good Company show to provide expertise and a framework for Collectible Design, and the legitimacy to bring together under its auspices, its best and emerging representatives. Moreover, if the debate between art or design and art and design is still relevant, this kind of exhibition undeniably helps to clarify reluctant minds: just as much as the  Collectible fair, the exhibition founded by Fernando Mastrangelo opens its doors to a collector's design, the one that restores design to its former glory, namely to reaffirm itself as an integral part of the Art scene.

 

"Furniture is no longer solely, or even primarily, a medium of function. It's starting to become more and more a medium for artistic expression for the sake of artistic expression."

Fernando Mastrangelo

 

 

In Good Company, Fernando Mastrangelo calls on the wise eye of Rossana Orlandi

In Good Company, Gregory Beson, Salt Chair

In-Good-Company-Fernando-Mastrangelo-Rossana-Orlandi-work-by-Ian-Felton-Mulluu-Coffee-Table-huskdesignblog
In Good Company, Fernando Mastrangelo calls on the wise eye of Rossana Orlandi
In Good Company, Fernando Mastrangelo calls on the wise eye of Rossana Orlandi
In Good Company, Fernando Mastrangelo calls on the wise eye of Rossana Orlandi
In Good Company, Fernando Mastrangelo calls on the wise eye of Rossana Orlandi
In Good Company, Fernando Mastrangelo calls on the wise eye of Rossana Orlandi

 

 

Designers 

 

For this edition, the selected designers (from left to right) are as follows:

 

Part 1: Elyse Graham, who presents her incredible Aperture Chair, Alanis McNier and her Maturation coffee table, Arcana studio and its sculptural Angler Chaise Lounge, Bailey Fontaine and his Pampas Floor Lamp, the enigmatic Blaze and Serin pieces by Zac Hacmon, the Purple Glow floor lamp by Nicholas Tilma and the Negative Bench of Nick Missel.

 

Part 2: The grandiose Salt Chair of Gregory Beson, the massive Mulluu coffee table by Ian Felton, the colorful and playful suspensions of Marco Piscitelli, the emblematic work of Ragna Ragnarsdottir represented with the Figure Container, the new Chair 5 of the talented Soren Ferguson, the incredible woodworking of studiovoll with the Fluid Bearing piece and the design mocked by Winston Cuevas with Simple Machine #1.

 

In Good Company, Fernando Mastrangelo calls on the wise eye of Rossana Orlandi

 

 

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