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A traditional goats’ bell reversed, reworked, and upcycled into a luxurious accessory for the home.
An ode to the noble bucolic soul that burns within us, reminding us that the gap between rural bliss and urban magnificence is only a goat’s hair apart.
Crome and silver plated steel
Greece is for Lovers is the brainchild of Thanos Karampatsos and Christina Kotsilelou, as lovingly conceived at the foot of the Acropolis hill in late 2005. Sharing similar aesthetic influences, the creative minds behind it introduced a brand new sense of ‘Greekness’ to contemporary product design, by mixing up a concoction of their country’s spiciest ingredients: humour, irony, nonchalance and extravagance.
Inspired by the stereotypical notion of what is widely held to be Greek, their designs comment on habitual activities and behavioural patterns of both the past and the present; they narrate an alternative home country, consisting of part memory, part fantasy and part wish.
Unwilling to compromise, the GIFL trademark aesthetic sits comfortably in the controversial area between luxe and kitsch - by exploring areas widely considered as an anathema, or plain shameful, they casually retrieve value and inspiration.
Greece is for Lovers’ products, whether one-offs or limited editions, are handmade with care by local craftsmen and are considered a synonym for contemporary Greek design.
The body of work in this collection consists of pieces by Greek designers of the mainland and the diaspora, or international professionals who live and work in Greece. As a common theme we tackle the elusive notion of “Greekness” and how this transpires through the work of seemingly diverse and distinct individuals. In our attempt to define “Greekness”, we aim to raise questions about how this plays out in the work presented.
How do Greek designers view their identity? Is it through their effort to decipher their heavy heritage? Is form important in order to achieve a predisposed classic elegance, or is a philosophical disposition towards shape more poignant? Could it be simply a resourcefulness and DIY ethic to make up for the absence of design infrastructure?
How do Greek designers based abroad deal with their background? Could it be that they simply ignore it in order to finally free themselves? Is there a certain amount of innovation necessary in order to channel it into the new environment?
Finally, how do foreign designers see their work influenced by their Greek surroundings? Is it the reference through the use of noble materials such as marble or the abundance of natural light that makes their work unquestionably Greek? Or could it be something else they were seeking when they decided to move here, something abstract like humour or drama? Could their arrival finally mean a departure from Greek heritage’s self-reference?
The pieces that we present might seem ill-matched, but they share an important core element. They are confident in their narrative of a personal story of identity, that is either at peace or against the Greek archetype. Through this communication, they all describe a culturally mature and vibrant scene that is finally extroverted and coming of age.
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