To introduce a designer, you would normally start with looking at his / her work. But I choose to show you the promotion images of Jamie Hayon, because they embody the essence of his character: Unconventional, unpredictable, lively and humourous.
A frequent figure at the furniture shows, Jamie Hayon is always spotted with his statement ‘hair-do’ and concentrating stare. His love for design is obvious on his face.
From painting his own skateboard, designing T-shirts and doing graffiti at around 10, working as the Design Director at Fabrica at 23, to establishing his own studio for toy, furniture and interior design, he never stops being creative. Without an art college background, it was skateboarding and street culture that nurtured his creativity. Mediterranean Digital Baroque, Jamie’s debut solo exhibition in London was held in 2003. He shown a street culture ‘jungle’ made of model toys, graffiti alongside ceramic trees and animals. Jamie favours combining tradition to the new, a humourous and chic style. His work caught the eye of Bisazza, Lladro and Camper to name but a few. He had already finished over twenty projects at his office which was set up merely three years ago.
Joris Laarman, Studio Job and DeMakersVan alike also drew recent attention, and their styles were defined as part of the ‘design art’ hype started by Droog Design in Netherland. In regard to this, Jamie said ‘I don’t think this is a hype. Designers response to questions, whereas ‘designer artists’ make a personal statement through doing that. This has been a trend for years and definitely not just a recent hype.’
If it is true that a ‘designer artists’ should express him / herself through the work, it is the humour and child-like passion that strike you in Jamie Hayon’s work.
Q1. What was your dream when you were fifteen years old?
A1. All my thoughts were on skateboarding, and how to become a fine skateboarder. Skateboarding is part of street culture and closely linked to creativity. Since then I decided to keep painting all my life.
Q2. How did you become a designer in the end?
A2. This was because of skateboarding. Originality and individuality are valued tremendously in the skateboarding crowd. Painting your own skateboard and making graffiti are a huge part of the culture. I started meeting various people and learn from them. Then I realized I could design and got into it.
Q3. Many consider your position between design and art. How do you define yourself?
A3. I try not to, and consider myself a creator. I just make what I like, be it art, design……or even a meal.
Q4. You did not find a job in your home town Madrid, why is that?
A4. That was straight after the frenzy of Barcelona Olympic. The whole country was chaotic and was not an ideal envoirnment for designing.
Q5. How do you find the envoirnment of Madrid and Spain as a designer?
A5. Spain has been stepping forward, paying more attention on the local design industry and nurturing potential designers. However, it takes time for the macro envoirnment to be developed enough for the established designers to stay.
Q6. When you worked at Fabrica as the Design Director, was it more about management than creating? How did you find it at the age of 23? What did you learn from the experience?
A6. That was a vital experience to me. As a manger you need to tune into the system of things but creatively I had a lot of freedom to make what I wanted. I improved interpersonal skills there, as well as learning different approaches to design. I was very young then, so being able to be put into a situation where I had to take charge and rise above challenges was tremendously beneficial. I am very grateful for the opportunity that Benetton and Olivero Toscani (one of the founders of Fabrica) gave me.
Q7. You went to London after Fabrica. Why is that?
A7. I was hoping to find a new experience in London, because it is so lively and full of creative energy. I discover something new everyday for the past few months and I am enjoying it.
Q8. When you were interviewed by British Magazine ‘ICON’, you stated that you do not want to link your design to personal or ethnical history. But it is inevitable that we have a relationship with our own culture. How do you think you are influenced by the country you were born and grew up in?
A8. The place we are born, family and its history are embossed on us definitely, but that is only part of me. I spent a bigger part of my life in various places than my home town, so I see myself as a world-citizen much more than just Spanish. I never emphasize nor avoid acknowledging my cultural background. My inspirations come from all sort of places, and I believe that creativity is an innate sense towards beauty and imagination which should not be limited or labeled, or interpreted by cultural analysis.
Q9. Labels such as Lladro or Bisazza invited you for collaborations. Why do you think they would want to work with a young designer like yourself? Do you feel restricted by their histories?
A9. I do not believe in history restricting new developments. Lladro and Bisazza have their own histories, but they are open-minded and stepping forward. They wanted someone who respects their label and eager to lay new paths for their company. These collaboration are only part of their evolutions and I am very grateful to participate. The key to their success is that they keep true to their heritage, instead of changing themselves completely. When I worked on these collaborations, I tuned myself to their pace before providing new and challenging ideas.
Q10. Villa Moda is your first architectural design. What is the biggest challenge?
A10. To manage a design in such scale is a huge challenge. To clarify our needs from A to Z, form a concept based on those, and the execution make serious workload. I am looking forward to seeing the result. I hope I would feel everything is worthwhile then.
Q11. Completing such a big project must be fulfilling.
A11. Yes! In fact each project is a baby, which brings joy and pain in equal measure. I like the feeling of touching them and remembering the whole process. My favourite recent project is the Pixel Balley installation for Bisazza. A lot of artistic considerations went into it and the result was wonderful. Designing the interior for La Terraza del Casino was a memorizing project also.
Q12. Please could you tell us a bit more about La Terraza del Casino? It is very different from your design for Camper.
A12. This is a very interesting and challenging project. I love cooking and this restaurant houses a fine cook, plus it is near my house, so I got very excited. The main goal was to keep its essence while incorporating modern elements in its interior. The restaurant is situated in an 18th century building. I tried to emphasis on the beauty of the original building and its glamour. For example, there is a huge window and it is the focus of the space. Therefore I have it re-instored with colour glass to keep the balance between old and new. Apart from that, the flooring, furniture and designs alike were based on keeping the authentic vibe.
Q13. The restaurant stands out aesthetically from your previous projects, but still in line with your design philosophy. Many artists and designers feel strongly about establishing a personal aesthetic, how do you feel about that?
A13. This is an interesting question. I always believe that personal preference and passion would become one’s style naturally. I like hand-made objects and am passionate about it, so it became my style. Intuition plays a major role in my design, but may be that is how I keep my ‘personal style’. It is not manufactured, it has to come naturally.
Q14. Most of the time labels choose a designer for his / her style. ‘ICON’ Magazine pointed out that many talented designers were asked to repeat themselves when taking part in collaborations with major labels. What do you think?
A14. I do not feel it is as negative. If you want to do something you will press through it. Everything is possible if you persevere enough. I think I have been lucky in that sense because the labels I worked with were risk-takers like me.
Q15. In your opinion, what is it that draws attention to your work?
A15. My humour, I guess. If my mother were to answer this question, she would say that because I smile a lot and give positive vibe.
Q16. Even your promotion images were full of humour. Whose idea was that?
A16. That was my artist girl friend’s (Nienke Klunder) idea. She was the photographer. I feel that my personal style is embodied in my graffiti, products, installations and interior design. But I also know that what left in people’s mind eventually will be me as a person. Therefore I asked Nienke, the expert photographer, to help me consolidate and shoot these images.
Q17. You mentioned ‘designer artists’ express themselves through industrial products. What does ‘design’ and ‘design art’ mean to you?
A17. I believe that design is not merely providing a respond but a solution to a question. ‘Design art’ is emotionally engaging as well as functional. Design is part of my life and part of me.
Q18. Would you say a design fails if it did not speak to the user emotionally?
A18. The instant emotion conjured by a design is my standard to judge a design. If a design failed to do that, it is probably not very authentic. Whether it is a minimalist Japanese tea cup, antique metal objects in the Château de Versailles or Jeff Koons’s sculptures, if it stirred up an emotion, it is a good design.
Q19. Who are your favourite artists or designers?
A19. Jeff Koons, for his surprising use of material; the photographer Erwin Wurm, for his humourous images; Italian sculptor Antonio Canova, for his amazing sculptures; Portuguese architect Alvaro Siza; Minimalist designer Jasper Morrison; Hella Jongerious who is extremely compassionate. All of them move me.
Q20. Your passion for design is obvious in your work. Have you ever lost that feeling?
A20. No, I am super passionate about it. I love my work!
HAYON STUDIO
www.hayonstudio.com
