1. Moustache - Mode d'emploi - full film

    05:54

    from Moustache Added 1,517 4 0

    In 2009, Moustache made his first appearance during the Milan Furniture Fair. We decided to support his launch with a series of photos taken on site in the newly restored period rooms in the Musée des Arts décoratifs de Paris. In fact, these associations of contemporary and antique objects give our very young French publishing house its roots in its own national history of decorative arts and design. In a very forceful way, these photos show how our contemporary productions engage naturally in a dialogue with other objects whose know-how and production techniques sometimes belong to a period several centuries earlier. Hieratic, controlled and finely honed, these images are rapidly shaken up by the reality of the exhibition during the Milan Design Week and the novel dialogue that the public will engage with our objects. We were anything but prepared for it, the people spent a week examining, touching, trying, assembling, setting up and dismantling the smallest objects whose characteristics are an invitation to experiment in all ways. Dumbfounded, we ourselves were got hooked and resolved to boast about, to promote, backed up with animated demonstrations and rituals, the technical merits, assembly tricks and the mechanical intelligence of our objects. After a lot of thought was given the photos in the Museum and cleverly lit, the second overall view of our new collection projected us in front of potential users taking up objects to understand them better but even more to lay down bases for relations with them. Obviously, during the Design Week, the Milanese public had their particularities and a few obsessions that very few other people could claim to have! Nevertheless, this first real rapprochement between the public and our objects marked us substantially and made us discover, in a playful way, the complex relation that human beings are capable of having with objects. Since then, the idea of producing living directions seemed to us to be vital. What we observed in Milan should be made public and offered to those who really use our products, our clients. In this way, the Mode d’emploi project came into being in our minds after our very first Milanese marathon with Moustache. To this first technical aim of a film making the assembly of our objects legible and intelligible, we also wanted to try to provide an artistic dimension which would say more about Moustache and we ended up by deciding that the user's figure would be portrayed by dancers. The objects we selected to show in this film are not only the ones that obviously need to be assembled, but also others whose interactions with the user seem interesting or simply beautiful. So, in succession, we see Samuel Mercer changing the cover on the Bold chair because he wants to change its colour, Jurgita Kaunasiciute fixing Inga Sempé's Balcons to a wall, Samuel again, handling the Baobab table by Ionna Vautrin or re-assembling the Scarabée vase by Jean Baptiste Fastrez that he has just cleaned. Samuel Mercer doing a split seemed essential to show that the Scholten & Baijings Strap chair can be easily stacked. The Aurore lamp by Ferréol babin only expresses its interest in the need for interaction that it arouses in Jurgita. We asked Charles Negre and Leewei Swee, who directed this film, to do the remainder.

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    • Moustache - Mode d'emploi - Teaser

      00:37

      from Moustache Added 1,779 7 0

      In 2009, Moustache made his first appearance during the Milan Furniture Fair. We decided to support his launch with a series of photos taken on site in the newly restored period rooms in the Musée des Arts décoratifs de Paris. In fact, these associations of contemporary and antique objects give our very young French publishing house its roots in its own national history of decorative arts and design. In a very forceful way, these photos show how our contemporary productions engage naturally in a dialogue with other objects whose know-how and production techniques sometimes belong to a period several centuries earlier. Hieratic, controlled and finely honed, these images are rapidly shaken up by the reality of the exhibition during the Milan Design Week and the novel dialogue that the public will engage with our objects. We were anything but prepared for it, the people spent a week examining, touching, trying, assembling, setting up and dismantling the smallest objects whose characteristics are an invitation to experiment in all ways. Dumbfounded, we ourselves were got hooked and resolved to boast about, to promote, backed up with animated demonstrations and rituals, the technical merits, assembly tricks and the mechanical intelligence of our objects. After a lot of thought was given the photos in the Museum and cleverly lit, the second overall view of our new collection projected us in front of potential users taking up objects to understand them better but even more to lay down bases for relations with them. Obviously, during the Design Week, the Milanese public had their particularities and a few obsessions that very few other people could claim to have! Nevertheless, this first real rapprochement between the public and our objects marked us substantially and made us discover, in a playful way, the complex relation that human beings are capable of having with objects. Since then, the idea of producing living directions seemed to us to be vital. What we observed in Milan should be made public and offered to those who really use our products, our clients. In this way, the Mode d’emploi project came into being in our minds after our very first Milanese marathon with Moustache. To this first technical aim of a film making the assembly of our objects legible and intelligible, we also wanted to try to provide an artistic dimension which would say more about Moustache and we ended up by deciding that the user's figure would be portrayed by dancers. The objects we selected to show in this film are not only the ones that obviously need to be assembled, but also others whose interactions with the user seem interesting or simply beautiful. So, in succession, we see Samuel Mercer changing the cover on the Bold chair because he wants to change its colour, Jurgita Kaunasiciute fixing Inga Sempé's Balcons to a wall, Samuel again, handling the Baobab table by Ionna Vautrin or re-assembling the Scarabée vase by Jean Baptiste Fastrez that he has just cleaned. Samuel Mercer doing a split seemed essential to show that the Scholten & Baijings Strap chair can be easily stacked. The Aurore lamp by Ferréol babin only expresses its interest in the need for interaction that it arouses in Jurgita. We asked Charles Negre and Leewei Swee, who directed this film, to do the remainder.

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      • Inga

        01:08

        from Mutina Added 96 0 0

        if I say Mutina? starring Inga Sempé as Inga

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        • Inga Sempé "CrashTest"

          00:08

          from STYLEPARK Added 493 0 0

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          • Design au Banc n°4 - Objets de marque

            01:42:39

            from VIA - Design Paris Added 67 0 0

            Réalisée en co-production avec le Centre Pompidou, Design au Banc est une tribune qui réunit trois critiques (journalistes, enseignants ou chercheurs) et les invite à décrypter, dans le cadre d'une discussion ouverte, une sélection d'événements significatifs dans l'actualité du design (expositions, livres, objets, architecture intérieure, etc ...). Design au Banc n°04 - Mercredi 29 septembre 2010

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            • Lecture with Inga Sempé (F)

              41:10

              from LYNfabrikken Aarhus Denmark Added 310 2 0

              Inga Sempé is a french designer, born in Paris, where she still lives and works. She graduated from ENSCI-Les Ateliers (Ecole Nationale Supérieure de Création Industrielle, Paris) in 1993. Since then Sempé has focussed on the design of furniture, lighting, objects and fabrics. From 2000 till 2001 she held a scholarship at the Villa Medici, Académie de France in Rome and opened her own studio in Paris in 2000. From the start she collaborated with the Italian companies Cappellini and Edra and now she works among others for French companies such as Ligne Roset, Moustache, Domestic, Baccarat; Italian enterprises like LucePlan as well as scandinavian companies such as David Design, Hjelle, Almedahl’s, and the american company Artecnica. She was awarded Grand Prix de la Création en design de la ville de Paris in 2003, and same year she had a solo exhibition at the Musée des Arts décoratifs of Paris.

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              • VIENNA DESIGN WEEK Talks: Inga Sempé (FR)

                55:10

                from VIENNA DESIGN WEEK Added 178 2 0

                Sometimes the easiest questions are the hardest to answer. „Why Design?“ was the question asked by departure and the VIENNA DESIGN WEEK. Addressed were four very special speakers from the design world invited to this year’s talk series at the Vienna k/hauskino. Stefan Sagmeister, Gijs Bakker, Inga Sempé and Konstantin Grcic each answered the question differently, a question everyone who has ever decided to work within design should not stop asking. “Because we need objects.” The French designer Inga Sempé (b. Paris, 1968) completed her studies in 1993 at the Ecole Nationale Supérieure de Création Industrielle in Paris. She designs furniture, lighting, textiles, and more. In 2000 she opened her own design studio in Paris, where she worked with Italian firms like Cappellini and Edra. At present, Sempé works for Ligne Roset, Moustache, Domestic, and Baccarat in France; for LucePlan in Italy; and for David Design, Hjelle, and Almedahl’s in Scandinavia. She was awarded the Grand Prix de la Création en Design de la Ville de Paris in 2003, also the year of a solo exhibition at the Musée des Arts Décoratifs in Paris. Sempé lives and works in Paris. ingasempe.fr

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