ARJUN GILL
This article details the life and influence of Ilse Crawford, an MBE (Member of the Order of the British Empire) British interior, furniture designer, creative director and author. I first came across Ilse when she was profiled on the 2017 Netflix series Abstract: The Art of Design, this was particularly interesting for me as I seek to study an interior design course at university. She was born in 1962 London and attended Bedford College, this was at a time when UK design was traditional and unadventurous. The aim of me writing this article is to better inform me about the way Ilse worked and why her impact was significant.
Background/childhood 1962-1980
(Via Frame magazine edition #105 July 2015) when a child Crawford was “keenly aware” of her house environment: a big family with informality and warmth in the house. Something she noted was not as present when visiting other houses. Crawford also spent a lot of time in “institutional environments” when her mum was ill, noticing certain areas that “made people feel at ease” or where “positively detrimental”.
Her motto is ‘to put human needs and desires at the centre of all that she does’- relating to her book title of ‘Sensual Home’. She has associated this with public areas and spaces where people are comfortable and relaxed in a sense of home, lacking in institutional environments.
Elle decoration 1989-1998
ILSE CRAWFORD ELLE DECORATION
Starting in 1989 the magazine ‘Elle Decoration’ seeks to change the staid and standard Interior Design scene at the time
1989:
She has said that when starting up the key to success was working with the right people/connections e.g photographers, stylists for the magazine to then flourish more smoothly. When working at ‘Elle Decoration’ she began to see emerging interiors and had to examine which would be successful in remaining relevant. Before seeing contrasting comforts of spaces, when in Elle Decoration Ilse had an “on-the-ground education”. When starting at Elle -being in a team of people all ‘fresh out of’ art schools- she wanted the articles to be “relevant to our(her) generation”. When working with the magazine she also learnt the importance of communication, as listening to your audience and researching your current context is vital: “ analysing what’s going on out there before you do your thing” and also that for other ideas, the world “isn’t waiting for you to deliver your idea”. An example of this she mentioned was a Portugese cork supplier that experienced a decline in wine bottle corks, so reinvented their production method to create a fully sustainable (closed circle) way to make the corks. This was achieved due to research and development- something companies pour millions into to remain ahead of the curve. Ilse has said there are “thousands of jobs at stake” regarding R&D departments.
The main message Ilse Crawford is highlighting is that it is essential to “work with people from other disciplines..to be engaged with something beyond itself(the concept) ”
Ilse found that the level of communication required to have with the reader/client when working at Elle Decoration was something that was key to learn when working in a studio space later. Regarding gaining a sense of: how to work with people, to understand, observe, diagnose and deduce the more long-lasting, cultural and important ideas- gained through experience
It was with Elle that Crawford started to explore and emphasise the importance of focussing on how products were made, with an individual's ideas and values. At the time the magazine was starting she found it difficult to gain advertising for revenue as her ideas were more radical (contemporary furniture was new in that time period- 1990s).
Books 1997-2005
‘Sensual Home’-1997
This book has been written to enhance the reader's awareness of their senses and concentrate on them in a fast-moving world that provides little to cater for them. The starting chapters set about describing our particular senses then later how they should be provided for with regards to e.g Light & Space.
The emphasis on sensations in design is something that has caused Ilse to stand out in her field and explore more possibilities for ultimate user satisfaction. It goes without saying this work all correlates with her motto and that this is building upon her knowledge of interior design from Elle Decoration, now acting in a much more detailed way when looking at products and furniture.
No doubt her influence included Don Normans’ 1988 ‘The Design of Everyday Things’, regarding the (at times comprehensive) relationship between product and user
‘Home Is Where the Heart Is?’-2005
Isles’ next book again revolves around the ‘perfect’ home with an overall theme of “one eye sees, the other feels”. This time it looks into overall broader human aspects of love, survival, respect and safety, and how to incorporate these into daily activity. She writes about introspective topics such as, despite people's reliance on technology to bring ease and comfort to our lives “we still want a sense of humanity”. Examples include the use of laptops and computer documents to resemble the feeling of writing with a pencil and paper e.g Word documents. Also the increasing creation of e.g a TV remote with less buttons or reduced complexity makes people more inactive and overly relaxed without expanding their potential. A product/environment that has potential to enhance one's senses will effectively make them feel younger and go on to question more things in life.
‘A Frame For Life:The Designs of Studioilse’-2014 (by Edwin Heathcote)
This volume illustrates why Crawford's design philosophy is so seminal—her work has influenced not only a generation of Dutch and European designers, but also Americans due to her acclaimed Soho House New York. It features new photography and essays by Crawford written by design critic Edwin Heatcote.
Studio 2001 - Her Workspace:
(Via Ben Spriggs ‘In conversation with Elle Decorations founder) It is described as a “ranquil and subtly stylish environment” with “soothing...moss green”, “samples” and “project moodboards”. It is both contemporary and classic with its revitalised designs. The atmosphere is fairly subdued conveying the sense there is little chance of someone raising their voice.
She has founded her own studio: ‘STUDIOILSE’ that seeks to achieve ambience, equipped with a team from London. Focussing on items that refreshingly support human actions/behaviour creating commercial spaces, homes, products and films.
Likely influenced by the “positively detrimental” spaces she experienced in hospitals.
‘STUDIOILSE’- 2001
‘Refettorio Felix’ London, 2017(COMMERCIAL)
A redesign of a community centre to create a functional home for Refettorio Felix- a community kitchen/dining centre where the chefs aim to reduce food wastage, using surplus supermarket ingredients. The warm and welcoming sense of community and collectivism is part of the mission statement, facilitating human desires. Primarily hunger!
‘Embassy house’ (HOME)
An apartment in Beijing, it includes curves and a palette creating a connection to nature and so people- helped by the use of flowing sinuous timber.
‘Nanimarquina’ from the 2019 Wellbeing Collection (PRODUCT)
Within this project, a feeling of comfort and habitat is produced by the rugs, indoor hammocks and a throw(small blanket for warmth when on a sofa or chair). Natural and local fibres being spun and incorporated facilitates the products having a reduced environmental impact to help design a sense of wellbeing.
Studioilse Collaborations:
Georg Jensen- Danish silverware company
Being an everyday item shows how Ilse seeks to make general products also convey a feeling of human desires and satisfaction, again referencing the ideas of Don Normans’ design of everyday things.
Material: mirror polished stainless steel, this is simple yet the mirror aspect allows the product to act more reflective to whoever is using it.
Ilse Crawford updates the classic library lamp for Wästberg
Swedish brand Wästberg-lighting
Name: w203 ilumina
Use/function: classic library or office lamp, it has no visible light source for distraction when working, instead it is warm and more inviting. Therefore encouraging its use in a work environment so people are more proactive
Materials: high-gloss copper (will eventually create characterful patina).
Ikea 2015
Ikea- 2015- SINNERLIG Collection
This collection is focused on the home, primarily for: working, dining and lounging
The way they feel in use are attempts to engage with the user - linking to Crawford's motto of creating a sensual home. The feel of the items is achieved by use of cork, ceramic, seaglass and bamboo which are also attractive. Users become familiar with the textures due to daily use.
Studio Isle worked on all aspects of the roughly 30 items, through production to design and logistics, so the final items fully reflected their vision.
The Sinnerlig pendant lamp at the retail price of just £40 links directly with part of Ikeas mission statement - ‘ to make affordable design reach as many people as possible’.
SINNERLIG pendant lamp bamboo 22 W 54cm 50cm 1.1m
The use of bamboo (with a clear lacquer) in a lattice structure gives the light passing through it a warmness, suitable for a communal lounging area. This is comparably with the ambience generated by the w203 ilumina.
Overall Ilse’s career has been hugely impactful; layering materials and textures combined with her understanding of human behaviour, Crawford's designs are both sensual and accessible. A forerunner of the holistic design movement a decade ago, her humanistic approach has now become the norm. Her ideas have spread across the Atlantic Ocean as ‘Sensual Home’ has been reprinted seven times in the US.
"Ilse Crawford's London loft: bedroom detail 2" by audinou is licensed under CC BY 2.0
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