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Exhibitions > Bertjan Pot & Marcel Wanders
Marcel Wanders

Marcel Wanders

Marcel Wanders grew up in Boxtel, the Netherlands, and graduated cum laude from the School of the Arts Arnhem in 1988.
In 1996 he designed his iconic Knotted Chair, which he produced for Droog Design. He is now ubiquitous, designing for the biggest European contemporary design manufacturers like B&B Italia, Bisazza, Poliform, Moroso, Flos, Boffi, Cappellini, Droog Design and Moooi of which he is also art director and co-owner. Founded in 2000, Moooi has grown into an internationally renowned design label. Additionally, Marcel Wanders works on architectural and interior design projects and recently turned his attention to consumer home appliances.  Marcel was the editor of the International Design Yearbook 2005. In the same year, together with Chef Peter Lute, he established the LUTE SUITES hospitality-concept, the first "all over city suites" hotel in the world. Marcel is the first and among the most important designers of Droog design. He was a juror for various prizes like the Rotterdam Design Prize (for which his own products were nominated several times) and the Kho Liang Ie prize. He lectures around the world and has taught at various design academies in the Netherlands and abroad. His works have been selected for the most important design collections and exhibitions in the world, like the Museum of Modern Art in New York and San Francisco, the V&A Museum in London, the Stedelijk Museum in Amsterdam, Museum Boijmans van Beuningen in Rotterdam, the Central Museum in Utrecht, Museum of Decorative Arts Copenhagen and various Droog Design exhibitions. Coverage on Marcel has been published in all leading design magazines and newspapers such as Domus, Interni, Blueprint, Design Report, Frame, I.D. magazine, Abitare, Wallpaper, Nylon, Elle decoration, Icon, Esquire, the International Herald Tribune, Washington Post, the Financial Times, the New York Times and Business Week. 

Bertjan Pot
photo: Cornelie de Jong

Bertjan Pot

"I'm a designer and I (mostly) design furniture and lighting for a living. I used to have quite a theory about my designs and my way of designing structural and non-structural skins. But nowadays I would like to describe my method of working a bit more broad. Nevertheless I am very interested in skins of the structural an non-structural kind.
During my study at the Design Academy Eindhoven I really enjoyed being taught how to weave and knit and I still think this is reflected in my work. I think that one of the reasons why textile is so interesting to me is that it is interesting on all levels. If you look at it with a magnifying glass, or just up close, or from a distance, as a piece or garment that someone is wearing or as a curtain with a nice texture on it seen from the other side of the room.
When creating a textile one starts with a fibre, that becomes a yarn, that can be woven or knitted into a piece of textile that can be sewn together into a piece of clothing, a curtain or whatever. If you take a good fiber and make logical decisions while processing it, it almost can't go wrong. I think this approach can be applied to more than just textiles.
In my work I often start with materials or smaller parts that I try to bend into something bigger and functional that hopefully is also interesting on all levels." Bertjan Pot

Stav Axenfeld
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"We are about to witness a full-on textile tsunami", predicted trend oracle Li Edelkoort in a lecture she gave at Design Museum Holon during her visit to Israel in January 2010.
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