Karakter Copenhagen
The finish on Aldo Bakker’s console table stayed with me: super glossy, with a feel that made me want to keep touching it. I admired the established designers in Karakter Copenhagen’s collection, but discovering work like Bakker’s was just as exciting. For the catalogue, I wanted to photograph these pieces as icons. The studio settings consisted only of the furniture, with nothing around it competing for attention. The tone-on-tone photographs almost looked like renders, giving the sculptural shapes and surfaces room to be seen.
The catalogue needed to feel like a body of work. I made the designers’ names big and bold: designers came first, products second. Descriptions mattered less because I felt the design was already saying so much. I loved that these were people still asking how something could be made differently, even when almost everything seems to have been invented. I share that need to consider every detail until things come together and just make sense. Giving the designers room was my way of recognising the thought behind the pieces—the kind that makes me want to pick something up and look at it from a thousand different angles. One simply isn’t enough.
