DESIGN STUDIO VIT SWEDEN
DESIGN STUDIO VIT SWEDEN Studio Vit was established in Stockholm by Helena Jonasson and Veronica Dagnert in 2010, bringing together their respective backgrounds in industrial design and fashion and communication design. Now channelling their skills into furniture, lighting and spaces, these materials-obsessed minimalists’ designs are characterised by their elegant poise and poetry. In their own words: “In a world with lots of noise, we believe sensitive and delicate qualities like stillness create quite an impact.” PHOTOGRAPHY: FLORENT TANET SET DESIGN: ELLA PERDEREAU, ULYSSE FRÉCHELIN 50 THE JAGUAR
NOÉ DUCHAUFOUR-LAWRANCE FRANCE French born Noé Duchaufour-Lawrance, following his sculptor father’s footsteps, is known for his knack for natural shapes and smooth organic lines. But while his pieces are always aesthetic, they are equally functional as pieces of furniture and inspirational interiors. Having served as artistic director for the world-famous Sketch restaurant in London, whose interiors made it one of the most sought-after venues in the city, Duchaufour-Lawrance set up his own studio and began undertaking such prestigious projects as the Air France business class lounges, and retail concepts for clients such as Yves Saint Laurent and the BSL Gallery in Paris. Like so many next-century modernists, Duchaufour-Lawrance finds many of his ideas in nature, from pebbles to landscapes to flowing water. His Naturoscopie I shelf pictured below is one of these works, inspired by plants’ cell structures as seen at the microscopic level. WAYNE BURGESS Jaguar Studio Director, Production and SVO Projects Design, on the importance of timeless modern design A SHARED LANGUAGE “There are clear parallels between the philosophy and execution of many of today’s next-century modernists and Jaguar design. Work by artists like Noé Duchaufour-Lawrance for example – whether it’s complete interior environments, such as his Air France lounges at Paris CDG, or discreet pieces of furniture designed for Habitat or Hermès – convey an over-riding sense of elegance and simplicity in the forms and volumes that one can trace in Jaguar design, too. His work successfully combines mechanical, linear elements with more natural, organic forms in a way that resonates with Jaguar’s approach to both exterior and interior design. The way he allows the material choices guide the overall form of the object is much like our approach to handling wood, aluminium and leather on our vehicle interiors (and exteriors, in the case of aluminium). Finally, the way he uses and manipulates light, to promote a sense of tranquillity and ‘well-being’ in an environment is entirely analogous to our philosophy for ambient lighting in our vehicle interiors; highlighting key elements of the design, and visually optimising the available space. From a more personal perspective, his work often reminds me of that of the great Eero Saarinen, who himself was greatly influenced by the Eames - so much so, he named one of his children ‘Eames’. For me, there’s a clear lineage in the design language of Eames, through Saarinen, and to Duchaufour- Lawrance, which reinforces my assertion that for design to be timeless, and to achieve real longevity, it must fundamentally be pure, simple, and diligently considered.” THE JAGUAR 51
