“It’s quite hard to design a bed that offers something different. Poltrona Frau have quite a few beds in their collection, but they’re all very angular, so for this one I went with a crescent back. And a lot of the time, a headboard is designed to be bolted against a wall, but this bed is really meant to be a freestanding piece of furniture. I was very conscious that it be able to sit in the middle of a room — but at the same time, not be something that is going to totally overtake your space. Especially with a bed, the proportions are really critical. Rather than CAD drawings, I work with models, and one of the things I love is the instant when the model just starts to look alive — it’s got a personality of its own.”

“It begins with a line — an elegant curve of the leg, which feels a little bit feminine and a little bit French. Then, as you walk around the chair, you see how its curves are really designed to welcome the body — you get this sense that it’s comfortable even before you sit down. And even though the design has this soft elegance, those curves are actually created with stainless steel. So it’s also sturdy, and will last forever.”

“The brief was to create a chair with one big leg as the base. The main challenge became stability. At first, I started with a flatter base modelled after a guitar pick, but in order to support the chair better, it gradually transformed into this thicker cylinder that has a slice through it to still maintain some of that plectrum shape. Then, to show that the upholstery is removable, I also introduced a prominent zip detail down the base, like you might find on a woman’s dress. The backrest itself is seamless, and generously padded, so it’s a very comfortable chair. And with both swivel or stationary base options, it is versatile enough to work in so many settings.”

“I’ve known Mirkku Kullberg, now the CEO of Kasthall, since she was at Vitra back in the day, so that’s how this conversation started. We toured Kasthall’s factory in Sweden, and it initially made me quite sad, because I grew up in a town that made blankets, and when that blanket factory closed down, everyone lost their jobs. So that was a real motivation here — to create new collections that could help keep this factory and the skills in it alive. After all, that’s really our job as designers. Once we understood how their rugs are constructed, it became quite straightforward, in terms of using colour to expose some of the structure of the rugs and give more three-dimensionality. With both collections, from a distance they become more or less one colour, but up close they’re actually made of many colours, like a painting. Atlas is named for the Atlas Mountains, because the pattern looks like a mountain range, and Bon Bon is like a sweet shop — really playful and young.”