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Designed by Thomas DEFOUR, edited by 13Desserts.
The Grand Ribaud armchair is designed for “lazing around” in extreme conditions. It is made using techniques traditionally used for nautical fittings. Its structure is made of welded, bent and powder coated steel tubes. The nylon mesh that makes up the seat offers the comfort and durability of a catamaran trampoline. The chair is made and assembled by hand by our craftsmen in France.
7.5
2021
net, steel
Metalwork, Weaving
Black, Green, steel, White
Open Editions
90x59x69
13Desserts is an independent design label with a multidisciplinary approach dedicated to the creation, production and promotion of design pieces. Since its creation in 2020, we have been offering the work of emerging designers and established artists through exhibitions and collections produced in limited editions. All sharing a common aesthetic: « Côte d\'Azur ». Our vision and our practices today push us to develop and promote daring creations through collaborations with designers and artisans from various backgrounds. This bias allows us to explore new production avenues and respond to an intention of sustainable consumption. Objects and pieces of furniture produced on a human scale are the result of close collaboration between designers, the label and artisans. We also attach great importance to respecting an entirely French production. This geographical proximity allows us to pay particular attention to each project.
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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