Earlier this year, Kartell celebrated one of its most iconic pieces - Ferruccio Laviani's Bourgie lamp - with an exhibition of fourteen reinterpretations by a roster of international designers. This month the project has been expanded further, with the Bourgie being handed over to a group of American creatives, the results on display at the Greene Street showroom until 26 May - coinciding with New York Design Week - presenting a further exploration of the lamp's design and a tribute to its execution. It completes a big month for the brand, which has also just unveiled a re-designed and enhanced website, including for the first time an extensive e-store. Acting as an exploratory hub, the site allows users to delve deeper into the brand's history, to browse products and to access information about new projects and ventures. They can also admire other icons from Kartell's past, in addition to the legendary Bourgie.
Rafael de Cardenas' starting point was Ferruccio Laviani's transformation of a Baroque shape into a distilled design. Similarly, the New York-based designer further simplified the Bourgie, using its silhouette to create an installation of neon and mirror that multiplies the shape to infinity
Former Wallpaper* Design Awards judge Pharrell Williams applied his artistic versatility to the project, substituting the lamp's stand with a human arm holding the bulbs. According to the Williams, it 'represents the will of mankind in the daily plight of escaping the "shade" and the challenges of attempting to get closer to enlightenment.'
Kelly Wearstler's take on the Bourgie is a perfect marriage between Laviani's design and the American interior designer's aesthetic. Dissecting the object's base, Wearstler re-created it using her signature materials - a mix of stones and metal - covering the lampshade in strings of cord
Brazilian-born, New York-based artist Eli Sudbrack (aka Assume Vivid Astro Focus) gave a multi-level interpretation of the lamp, starting with a disco lamp idea and then developing its shade it to resemble a dunce hat. The artist wanted to 'turn something usually seen as negative bullying into a positive action, by transforming the dunce hat into a disco hat.'
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