{"id":293533,"date":"2018-04-27T17:49:03","date_gmt":"2018-04-27T21:49:03","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=293533"},"modified":"2022-05-02T21:21:46","modified_gmt":"2022-05-03T01:21:46","slug":"german-design","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/german-design\/","title":{"rendered":"10 German Furniture Designers to Keep an Eye On"},"content":{"rendered":"
\"Stefan

Stefan Diez<\/a>‘s Yard chair for Emu, 2015. Photo \u00a9 Stefan Diez<\/p><\/div>\n

Quality, functionality, innovation: These are often the terms associated with German design. But in today\u2019s hyperconnected world where influences come from near and far and products might be designed in one country and produced in another, does a typical German design exist?<\/p>\n

Featuring 50 designers, followed by 50 producers, the recent book Best of German Interior Design<\/em> (published by Distanz) poses that very question. Including haus<\/em>hold names and those on they\u2019re way to becoming them, this unofficial guide to German design reveals the country\u2019s Bauhaus heritage and contemporary design unburdened by the past.<\/p>\n

Here’s who you need to know.<\/p>\n

\n

Werner Aisslinger<\/a><\/h2>\n
\"Werner

Werner Aisslinger’s Add sideboard, 2015. Photo \u00a9 Werner Aisslinger<\/p><\/div>\n

Werner Aisslinger<\/a> made a name for himself in 1996 with his tulip-shaped Juli chair for Capellini<\/a>. The first such seat to use integral polyurethane foam, it was selected to be part of the Museum of Modern Art’s permanent collection shortly after its production.<\/p>\n

\u201cFor him,\u201d reads Best of German Interior Design<\/em>, \u201cemergence of visionary designs is always bound up with the development of new materials and techniques that are placed in a new context.\u201d This has included his stackable Hemp chair and his Soft chaise and Gel chair, made from polyurethane gel.<\/p>\n

\n

Sebastian Herkner<\/a><\/h2>\n
\"\"<\/a>

Sebastian Herkner’s Bell light, 2013; Bell side table with copper, 2013; and Bell coffee table, 2012. Photo \u00a9 Sebastian Herkner<\/p><\/div>\n

At just 37, Sebastian Herkner<\/a> is already among German design elite. With a client list including Cappellini, ClassiCon<\/a>, Moroso<\/a>, Pulpo and Linteloo, his perspective is an international one.<\/p>\n

\u201cI don\u2019t see myself in the era of German designers, I see myself more as an international designer,\u201d Herkner says. \u201cWell, I grew up in Germany and was educated at a German design school, but since my internship at Stella McCartney, I’ve been traveling and working a lot abroad, with my international team in the studio. I get inspired by cultures and people \u2014 driven by various crafts and materials from all over the globe.\u201d<\/p>\n

\n

Formstelle<\/a><\/h2>\n
\"Formstelle's<\/a>

Formstelle’s 808 chair for Thonet, 2014. Photo \u00a9 Achim Hatzius<\/p><\/div>\n

Claudia Kleine and Joerg Kurschner founded Munich-based Formstelle<\/a> in 2001. The duo\u2019s award-winning work includes the 808 for Thonet<\/a>, a reinterpretation of the classic wingback chair and Morph, a family of chairs in wood for Zeitraume<\/a>.<\/p>\n

\u201cIn connection with our artistic competence, we always find a special motif and an individual expression for the projects we do,\u201d says Kurschner. \u201cWe transform fantasies into visions, emotions into concepts and translate them into a physical form.\u201d<\/p>\n

\n

Konstantin Grcic<\/a><\/h2>\n
\"Konstantin

Konstantin Grcic’s Ulisse daybed and Diana A side table are accompanied by Eileen Gray’s Tube light<\/a>, 1927, all produced by ClassiCon<\/a>. Photo \u00a9 Konstantin Grcic, Magis<\/p><\/div>\n

Konstantin Grcic<\/a> is one of the world\u2019s foremost industrial designers. A trained cabinetmaker and graduate of London\u2019s Royal College of Art, he was an assistant to Jasper Morrison<\/a> before going out on his own in 1991. Grcic won the prestigious Compasso d\u2019Oro prize for both his Mayday lamp and his Myto chair. His Chair_One for Magis<\/a>, with its cement base and die-cast aluminum seat, is regarded as a design classic.<\/p>\n

\u201cSerious and functional, unwieldy and occasionally disconcerting, his works combine an industrial aesthetic with experimental, artistic elements.\u201d This was a description of the designer for the Vitra Design Museum<\/a>\u2019s \u201cPanoroma\u201d (2014), Grcic\u2019s largest solo exhibition to date.<\/p>\n

\n

Jehs+Laub<\/a><\/h2>\n
\"Jehs+Laub's

Jehs+Laub’s Jalis sofa, 2010, manufactured by COR<\/a>. Photo \u00a9 Jehs + Laub, COR<\/p><\/div>\n

Markus Jehs and Jurgen Laub<\/a> met in design school and interned together in New York. Today, the renowned Stuttgart-based studio works with a long list of clients including Cassina<\/a>, COR<\/a>, Herman Miller<\/a>, Fritz Hansen<\/a>, Knoll<\/a> and Nemo. In addition to now-classic sofas, chairs and lamps, the studio designed the worldwide showroom concept for Mercedes-Benz and Suite 606 for the Ice Hotel in Sweden.<\/p>\n

\u201cIf there is a German design language, then it is very much related to the Ulm School of ‘form follows function,’ \u201d says Laub. \u201cBut of course there are as many different ways to design a product as there are designers. Our way is influenced by our early work for German, Italian and Danish brands. That\u2019s why we see ourselves as more European designers.\u201d<\/p>\n

\n

Daniel Becker<\/a><\/h2>\n
\"Daniel<\/a>

Daniel Becker’s Emily I pendant lamps<\/a><\/p><\/div>\n

Since setting up his Berlin-based studio in 2010, industrial designer Daniel Becker<\/a> has been working in a a unique blend of pure function and what he calls \u201cdecorative function.\u201d<\/p>\n

\u201cMy designs do follow the German design ideal of creating an object that is logical, works well and is pleasant to use,\u201d he says. \u201cHowever, I do not follow a \u2018less is more\u2019 attitude as I believe that design can celebrate a shape without sacrificing functionality.\u201d To date, some of his most celebrated forms include the Emily pendants<\/a> and Sparks modular lighting<\/a>.<\/p>\n

\n

Kaschkasch<\/a><\/h2>\n
\"\"

Rail table system, 2016, by Kaschkasch for Zeitraum. Photo \u00a9 Kaschkasch, Zeitraum<\/p><\/div>\n

Kaschkasch<\/a>, comprising Florian Kallus and Sebastian Schneider, is among the newest generation of German design studios. Their product range includes a multifunctional floor mirror<\/a> for Menu<\/a>, a modular table system for Zeitraum and the foldable Fju for Living Divani<\/a>.<\/p>\n

\u201cWhat distinguishes German design? That\u2019s very hard to say, as we are living in a world where people from Japan are working in the U.S. for a German company,\u201d Kallus says. \u201cPeople get inspiration \u2014 also through the Internet \u2014 from all around the world.\u201d<\/p>\n

Nevertheless, he adds, \u201cGermans are still very much into quality and ‘Made in Germany.’ There is a big difference between many of the new \u2014 from the last 15 years \u2014 Danish brands and the old German furniture companies run by families. Most of the German companies have their own production, which is kind of big deal for us as designers.\u201d<\/p>\n

\n

Stefan Diez<\/a><\/h2>\n
\"Stefan

Stefan Diez’s Houdini side chair, 2009, surround Philipp Mainzer’s Bigfoot table, 1994. The Backenzahn stool, 1996, is also by Mainzer. Photo \u00a9 Philipp Mainzer, Stefan Diez<\/p><\/div>\n

Described in Best of German Interior Design<\/em> as belonging \u201cto the first generation of German designers who combine the techniques of traditional craftsmanship with digital tools,\u201d Stefan Diez<\/a> followed in the footsteps of his family by training as a cabinetmaker before studying industrial design under Richard Sapper<\/a>.<\/p>\n

He went on to work with Konstantin Grcic, and in 2002 set up his own studio in Munich. Today, this internationally recognized German designer creates pieces for e15, Emu, HAY<\/a>, Thonet, Vibia and Wilkhahn<\/a>, among other prestigious manufacturers.<\/p>\n

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Quality, functionality, innovation: These are often the terms associated with German design. But in today\u2019s hyperconnected world where influences come from near and far and products might be designed in one country and produced in another, does a typical German design exist? Featuring 50 designers, followed by 50 producers, the recent book Best of German 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