It's just one solution for design, making stuff.
You know, you could do it so much more with your talent and brains.
So that's what I like to do.
If I have a question from aviation, do a cabin,
then I know I could make a new leaf on a tree.
I could really do something new there.
So they need me as a designer.
But for Vita, you know, they have great stuff.
Why do they need me to create a new piece of furniture?
They need me on another level.
I do furniture with them, but I'm also the art director
for textiles, colors, surfaces, classics.
Four years ago we did new colors for all the plastic chairs.
We built a new leather collection,
and in January we worked on pouvet and eems again.
And if you design a textile, you also don't have to design a full new piece.
If you have nice half abecations, nice skins,
you also don't have to design a new object.
Just the skin can make the new design.
That's also why I find textiles interesting
and also a nice subject for the future.
There are not a lot of designers who are good in textiles
and really in technical perspective and in textility
and in the colors and in the patterns.
It's really a very abstract world.
You know, it was the first computer, a weaving machine.
It's really very difficult to understand how does this work.
So this technical part of it, I really like.
This puzzle that you have to do and finding the right yarns,
it all starts with yarn.
So that's also one of the ways to express myself in designing
but not making the full object.
This is not only about textile, of course it's also about color.
It's a very interesting world to dive into also in the industrial color world
that there is not a lot of quality.
So there are many, many, many colors to choose from
and they make every year a new color range
and they print in the street, invest a lot in surfaces
so that it's not scratching and all that.
So the end lacquer, that's a lot of investment.
But if you dive into the recipes, the recipes are very economically done.
They try to use as less as pigment as possible.
And then, so the colors are quite flat
and they come only from a certain scheme of the whole color world
because there's only one part of the pizza that is not changing during the daylight
and that's what I think consumers want,
that the color stays the same from the morning to the evening.
And I think that's really a mistake.
There's no quality because the color is there
because it has to reflect with the light.
The whole testing in the industrial world is really so outdated.
It's so about a functional level.
So it's, you know, on one hand companies are afraid to be sued
and on the other hand, they measure quality in terms of functionality.
And I think if you ask people, did you care if a color changed during the day
or if a fabric wears out after some years,
I think there are many consumers that see that as a quality.
But still we are testing as if you are wearing Velcro on your jeans, you know, all the time.
Or that you invited an elephant to sit on your armrest.
So a lot is lost because of the testing.
I of course know that it's difficult if you change somewhere there
because everything will be more expensive.
And it's not a topic companies want to spend more money on
because, you know, we have a good color world, so it's difficult to sell.
Discovery is much nicer than that color.
It's very difficult to sell.
But that's also a topic that's a half fabrication.
I can use my brains and talent to change something in an industrial world
and to make interesting new skins.
Because I think if you design the skin, and this is a more interesting one
than the industrial stuff that we can buy from the shelf,
you have a new product and you don't have to have a whole new table or a whole new sofa.
It's just to design the surface.
