Working in an industry surrounded by extravagant interiors, full of rich fabrics and detailed finishes; I often enjoy understanding how these luxurious items are made.
I define luxury as being exceptional craftsmanship that takes long hours to create these objects and of course tends to be very costly.
The V&A Museum presented an exhibition that explored how luxury is made and understood. The exhibition finished earlier in the week but for those that missed it these are my highlights.
There’s always such a great atmosphere outside the museum, its like the creative energy flows out of the building.
I squeezed passed the children chasing bubbles outside and into the incredible entrance of the V&A.
Neon lights adorn the entry to the exhibition; I stepped inside to a dark room with the only lighting illuminating the opulent objects dotted around the room.
One of my favourite pieces in the collection was the concrete chandelier designed by Studio Drift and presented by Carpenters Workshop Gallery.
This luxurious lighting consisted of dandelion heads that were applied to LED lights after they harvested. The lighting circuit runs through the bronze geometrical grid formation, this was implemented to avoid the striking chandelier having visible wiring.
The designers dream was to create a fusion between nature and technology and show the contrasting elements connecting. A design this intricate obviously comes with a rather hefty price tag costing over £100,000!
The next gem was The Rosalinde and Arthur Gilbert Collections crown from 1750, it was hard to capture the detail with the dark lighting but the jewels inserted in the crown sparkled magnificently.
An exceptionally lavish object was Studio Job’s monkey perched on a treasure chest; this cheeky looking monkey was studded with multiple crystals.
A beautifully crafted suit was on display by Carol Christian Poell. The jacket presented a seamlessly woven garment with intricate detailing.
One of the show stopping pieces that stood focal in the exhibition space was a design by Philippe Malouin. The design interpreted the hourglass function but created patterns of quartz sand on the ground.
The watches were made by George Daniel and were handcrafted with the finest detail; a mirror situated behind showed the complexity in the mechanical craftsmanship that made up the fob watches.
I found myself fascinated by the laser-cut Iris van Herpen couture gown with the elaborate elements that built the design.
The garment has a three dimensional quality and I can only imagine must look exceptional on.
The ‘Repair is Beautiful’ chair was designed by Paulo Goldstein created using a mixture of steel, timber, twine and rope. The chair has the ability to fold down for storage purposes but ultimately is a uniquely crafted item of furniture.
The next part of the exhibition explored the future of luxury design.
This part of the exhibition demonstrated luxury as being portrayed through time and space.
The fascinating display of extravagant items showed beauty but made the mind wonder about how luxury might be defined in the future.
Hopefully my brief post has provided a little insight into the V&A’s interpretation of what luxury is.