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5 January 2015

A modern-day Benvenuto Cellini

Cristina Morozzi

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Xavier Lust is a futuristic designer because of the freedom with which he models forms, always original and free from archetypal references, but also in Renaissance fashion for his devotion to craftsmanship. Xavier is a modern-day Benvenuto Cellini who is not ashamed of foundry work. He is an orthodox industrial designer, but works like an artisan, not so much as to give his pieces the added value of the virtuous execution, surface decoration or special effects, but in subtracting, smoothing and polishing. So as not to complicate, but to simplify and to give to his forms, shaped by hand, the fluidity, the curves and roundness, that cast mould technology has made possible to create. For the pieces proposed to the Parisian Passebon gallery he chose the gilded metal version and glass sprayed with gold, giving the material he tames with strength and delicacy in sinuous shapes the surprise of unexpected flashes.

Xavier Lust_Console&Seat_Gold
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XavierLust_Gold_table

Xavier Lust is a futuristic designer because of the freedom with which he models forms, always original and free from archetypal references, but also in Renaissance fashion for his devotion to craftsmanship. Xavier is a modern-day Benvenuto Cellini who is not ashamed of foundry work. He is an orthodox industrial designer, but works like an artisan, not so much as to give his pieces the added value of the virtuous execution, surface decoration or special effects, but in subtracting, smoothing and polishing. So as not to complicate, but to simplify and to give to his forms, shaped by hand, the fluidity, the curves and roundness, that cast mould technology has made possible to create. For the pieces proposed to the Parisian Passebon gallery he chose the gilded metal version and glass sprayed with gold, giving the material he tames with strength and delicacy in sinuous shapes the surprise of unexpected flashes.

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The Moodboarders is a glance into the design world, which, in all of its facets, captures the extraordinary even within the routine. It is a measure of the times. It is an antenna sensitive enough to pick-up on budding trends, emerging talents and neglected aesthetics. Instead of essays, we use brief tales to tune into the rhythm of our world. We travelled for a year without stopping, and seeing as the memory of this journey has not faded, we have chosen to edit a printed copy. We eliminated anything episodic, ephemeral or fading, maintaining a variety of articles that flow, without losing the element of surprise, the events caught taking place, and the creations having just bloomed.