JOHANNES GILLE: We try to connect
nature and industry in our Plant Chandelier,
which we describe as ‘neo-Art Deco’ because
it bears resemblance to the Jugendstil and
Art Deco movements. And, we’re searching
for some poetry amid the tools of industry,
therefore: ‘industrial poetry’.
It’s been said that your style proves there
is still room for new design classics. What
characteristics make a design a ‘new clas-
sic’? JK: All too often we see a copy of the
past being presented as the ultimate ‘now’.
That’s not how things should be. A design
should be timeless in a way that is contem-
porary yet future-proof. It should be just as
invigorating in 30 years’ time as it is now.
JG: And if we can achieve this, a
product can fit in lots of different environ-
ments and becomes extra sustainable.
Your early work is more rooted in gal-
lery pieces, shown at fairs such as Design
Miami and PAD London. Why did you
decide to make the step towards work-
ing with consumer brands? JK: We love to
go about our business unhindered, and to
approach design as if it were sculpting. A
museum piece affords much more freedom
when it comes to size, finish and technique
than a consumer product does. At some
point, though, we wanted to make our work
more widely available. As a designer, it’s
great to be able to go your own way, but it’s
even better to see your work at airports, in
restaurants and in people’s homes.
JG: We were strongly motivated to
complete the puzzle: to make objects that
can be mass-produced without losing
their essence.
What relationship do you see between
Kranen/Gille and the world of Moooi, in
terms of vision, identity, design language
or work methods? JK: Working with Moooi
feels like working with an extension of
the studio. Moooi tackles things hands-on
and values authenticity and authorship.
That’s why they developed The Button, an
NFC-based authenticity certificate that
lets consumers know they have a genuine
product, not a copy.
JG: In our minds, we create a whole
world or story around our projects, which
gives them depth you can feel without even
knowing the narrative. Moooi, unlike other
brands, can’t get enough of these back-
ground stories and uses every detail.
In creating The Party collection and Plant
Chandelier, how did the team at Moooi
help you overcome production challenges?
JK: By simply adding a different perspec-
tive. As a designer, you tend to have a
rather dogmatic view of your work. That’s
necessary to ensure that it doesn’t lose its
signature. However, it’s important to have
a good team that can make the necessary
adjustments without losing any of the
artistic value.
What types of spaces – commercial, resi-
dential – do you envision your designs for
Moooi inhabiting? JG: I would love to see
them in the lobby of an Art Deco hotel in
New York. With both of our Moooi pro-
jects we had a strong association with the
Roaring Twenties. But I can see them in a
more modern environment, too, I think they
could complete a grand hotel atmosphere
without feeling out of place.What conversations do you want the Plant
Chandelier to spark? JK: We use the steel
structure of the fixture to power the LED,
which is a sign of the times we live in: low-
voltage DC makes our life so much easier
and safer. ●
moooi.com
kranengille.comIntroduced by Moooi at NYCxDesign, the Plant
Chandelier (bottom) is inspired by the rigid order
found in nature. Kranen/Gille’s singing chandelier
The Party (below), in turn takes its cue from
masks used to frighten bad spirits away.MOOOI X FRAME 79