‘I have been obsessed for quite some time with this dynamic between performance and tactility, discretion and material contrast, which is happening within the luxury watch sector surrounding automatic and chronographic movements,’ says Samuel Ross when we meet in London. ‘So when it came down to developing our first chronograph with Hublot, I had to lean into that personal desire.’

Ross, whose relationship with Hublot began when he won the Hublot Design Prize in 2019, has found his fascination with materials and architectural leanings a natural match for a watch brand defined by unexpected design pairings.

These industrial design codes run throughout the watches Ross has created in collaboration with Hublot, and the new Big Bang Unico SR_A is no exception. As the first signature SR_A model created with Hublot’s Unico chronograph movement, it offered new challenges for Ross, who looked to a simple, clean aesthetic to showcase this new technicality.

‘I wanted a deep contrast, so as not to cannibalise the structure we've established with the tourbillons we have worked on together, which lean into this explosive use of materiality [with] carbon fibre in acidic greens and oranges. When it comes to the chronograph, it has a completely different case.’

It is a purity expressed in a monochrome ceramic exterior and a new rubber strap in Ross’ signature honeycomb, making for a contemporary and cool watch that is, above all, very wearable. Adds Ross: ‘Initially, the perforated honeycombs idea began as we wanted to reduce the weight of the face, and then also to expose all of the open work, because it's just an absolute joy visually to see all of the mechanisms at play. That factored into the band development, because it was able – to a certain degree – to reduce the amount of sweat traps that you have.’

Limited to 200 pieces, the watch’s release marks a deliberate widening out of a collection that is more open and accessible than its predecessors. For Ross, how the watch feels to wear is the key driving force behind this. ‘Most of the aesthetics have been driven by functionality first. We've spent a little bit of time refining them, but it's always going to be practicality which leads.’

hublot.com

It takes grace to judge the right moment to leave a party. In February 2024, Samuel Ross made the decision to step away from his cult menswear label A-Cold-Wall*, departing after a decade of radical architecturally inspired collections, artistic partnerships and several awards. ‘There comes a moment where you have to liberate yourself to be able to fulfill your pursuits or your eudaimonia,’ he says of the move, appearing on the screen in a simple black long-sleeve, the sleek Japanese woodwork of his east London studio providing a pleasing backdrop. ‘There's so much more time now; to think, research, read and scribe my thoughts before I go into execution. There’s so much more time to observe the world.’

Despite the departure, it’s hardly been a year of rest and relaxation for the polymath. Ross has been devoting his energy to SR_A, the multidisciplinary studio where he and his team have been blurring the lines between art, furniture, industrial design and garment production since 2019. To give a sense of how varied the studio’s efforts are, recent projects have included a solo display at White Cube gallery in London, furniture at Friedman Benda in New York, and bathroom fittings for American manufacturer Kohler. One, perhaps unexpected, project the studio has been planning over the past 12 months is a multi-seasonal partnership with Zara. Unlike anything the retailer has embarked upon before, the holistic collaboration spans not just shoppable items like clothing and homeware, but experiential spaces, installations and events. It launched with a presentation of raw, athletic menswear during Paris Fashion Week Men’s A/W 2025.

SR_A engineered by Zara and Samuel Ross

Designers teaming up with such retail behemoths is nothing new, but Ross wanted the partnership to be intentional and reflective of a new stage in his career, where he says he’s creating with a greater consciousness of the world today. ‘We've had enough time on the SR_A side to really just observe what's been happening across the fashion sector,’ he explains. ‘It gives you a really clear view of where you can try to solve some problems. At SR_A, our mission is to work with artisans and ateliers, to preserve means of craft and production and family legacies. On the other side of the coin, it’s about democracy and reach and being able to dissolve barriers to entry. This is something that I’ve said for quite some time but it is a huge sticking point for me. To do that, you need to find the right partners to work with, and Zara is enabling us to dissolve those barriers.’

While Ross’ designs at ACW* brought a cold, brutalist architecture to the body, he’s now making clothes that have a softer, organic ease to them. ‘It's much more about how the clothes make the wearer feel, versus the clothes wearing the wearer,’ he explains. ‘I think that a maturity has come about.’

For Zara, Ross was thinking about moving between nature and urban spaces, resulting in a collection where simple athletic shapes in a palette of muted moss, indigo and clay tones are realised with clever points of interest. Drawing inspiration from Japanese design and artefacts of the ancient world, garments ‘cleave, fold and shroud the body’ to form billowing silhouettes that have a sense of protection or cocooning. ‘It’s quite far away from my earlier work in high technical, high-gloss materials,’ he says. ‘It’s about delivering a feeling and an emotion without sacrificing function.’

Ross has a particular gift for speaking about his work, explaining the personal, societal and technical reasoning behind his designs with a poetic kind of precision. For this release, the designer was thinking about a duality; how clothing can embellish us or allow us to become invisible. ‘We've been discussing producing garments that allow you to disappear,’ he says. ‘To move through society and cityscapes silently. I think that's a real focus on respite and exhale. There are certain days we all just want to go about quietly and silently and not be seen, and there are other days where we want to personify who we are through clothes. That is really the power of fashion, is that it gives you the ability to transform.’

Community has long been a pillar of Ross’ practice, from early days as Virgil Abloh’s design assistant to artistic collaboration with figures like Kerry James Marshall, and more widely through his work at the Black British Artist Grants Programme, which has provided 50 artists with funding while connecting an uprising generation of talent to institutions. This release with Zara sees him bring several close friends and creative forces into the fold, including Gabriel Moses, who shot the campaign; Luka Sabbat, who stars in the visuals; and Benji B, who has created soundscapes for the Paris launch.

‘Over time, it's really a sense of collaboration, and that focus on being able to speak to multiple generations through multiple artists is really the key to this,’ he says. ‘It isn't just my view of my vision, this is a collective view and a collective vision.’

At the end of the call, Ross says he has to rush across town to visit a site for a large-scale permanent installation he has in the works. Later, he’ll be lacquering a Louis Vuitton mahogany crate he made for Virgil Abloh before he died, the varnish for which made an exciting arrival half-way through our interview. In a life post-ACW*, Ross seems energised by the space and time to work in a multitude of directions, although he says his love for making clothes will never go.

‘My affinity to clothes goes right back to me being a shop boy in a sportswear store in Northampton at the age of 12,’ he says. ‘A relationship with communicating through clothes will never go. What I'm quite pleased by, is that in each chapter of life, I’ve been able to present a different perspective on how clothes can make us feel.’

SR_A engineered by Zara and Samuel Ross Atelier: Edition 1 is available now

zara.com

Samuel Ross and Hublot continue to build on their creative collaboration with a new watch, the Big Bang Tourbillon Carbon SR_A. In chromatic blue, it is inspired by Ross’ love of bold colour and sharp geometric silhouettes, with Hublot’s distinctive mixed materials reflected in grey carbon lugs, a sapphire dial and a bezel featuring both a satin and microblasted finish. Here, Ross talks us through the design.

Samuel Ross on the design of the Hublot Big Bang Tourbillon Carbon SR_A watch

Wallpaper*: What do you enjoy about working with Hublot?

Samuel Ross: There’s a sense of purity and liberty in their creation process. By that, I mean Hublot's manufacture has the capacity to produce and engineer new materials and realities, on what a watch of the future can be, be it composites of unseen grades of material - or purely form studies. Or be it the ability to stir and question expectations within the luxury watch industry with total freedom.

It’s a semblance between engineering innovation and disruption. It’s also youth. Hublot is young. It's raw. But astute. Thats exciting. There's a sharp edge in the conversation. there is emotion.

W*: What inspired you with this design?

SR: From the start of our dynamic, establishing structure and continuity has been at the crux of how the final watch comes to be. As we debut 3.0, incremental refinements continue to deploy, it’s a unique approach to iterative design based on a deep rapport rooted in constant dialogue, one that is made possible by on-site engineering and artisans in Geneva. Each is fundamentally a unique piece – this opens up much that is possible. Subsequently, updates micro-refinements, and choices continue to come into fruition across each model.

Such as the redeveloped closure mechanism on 3.0 – completely new tooling, and new grade of titanium. Or the first introduction of compressed carbon fibre to display the dynamism, and uniqueness offered by the watch face, whilst retaining our aspiration of producing a lightweight tourbillon capable of functioning as a luxury, leisure-based watch through choices tied to weight, material and colour. I’m inspired by dynamic supply chains and hyper-emotive, potent possibilities in both luxury and culture. 3.0 catalyses both of these matters.

W*: The previous watches united vivid colours with clean, minimalist lines. How does this new watch build on those you have created with Hublot in the past?

SR: A rhythm has been established. Octaves and parameters you could say. This methodical approach enables us to express and isolate the development to particular components of the watch. Each model illuminates a design revelation of the watch's core architecture. Shifts in material, colour profile or tooling. You can see my thinking, in real time. We are focused on engineering the future of luxury watches – through the purist lens possible.

hublot.com

On 13 March 2024, Samuel Ross was announced as the artistic director of the London Design Biennale 2025. The event's fifth edition, held at Somerset House from 5 to 29 June 2025, will invite participants to develop projects based on a theme of 'Surface Reflections'. For the occasion, Ross will also unveil a series of large-scale sculptural works, which will mark his first major UK installation.

'London’s consistent spirit of experimentation and palpable artistic culture remain a fresh forum for global thinking,' says Ross. 'Taking part in the 2025 London Design Biennale as artistic director is an honour; I look forward to collaborating with each practitioner, ideally fuelling a spirit of experimentation, blurring the edges of where design meets art.'

Ross' curation of the event follows the 2023 edition led by Aric Chen and Het Nieuwe Instituut. For the London Design Biennale 2025, Ross will develop a theme of 'Surface Reflections', exploring how ideas are shaped equally by internal experiences and external influences. The theme will offer an opportunity to delve into multiple facets of the human experiences, uncovered through personal histories, traditions, and things we learn throughout our lives. 

'The elder and child versions of ourselves, in spirit, harvest experiences pooled from the same well, adds Ross. 'The time between each visit to the well does not distort the composition of the water. A different reflection, or means of extraction, may occur over time, due to the compound's characteristics. Generations of design-thinkers portray similar behaviours.'

Concludes Victoria Broakes, director of the London Design Biennale: '2025 will be an important year for design in the UK. We are absolutely delighted to be working with Samuel Ross, combining his vision with creativity and innovation from all over the world. London Design Biennale 2025 will present an international showground for original and imaginative ideas, solutions and thrilling opportunities for enriching exchanges.'

London Design Biennale 2025 will take place from 5 to 29 June 2025

londondesignbiennale.com

Welcome to our annual Global Interiors edition and the 300th issue of Wallpaper*. We are immensely proud to be celebrating our triple century, and this issue exemplifies our commitment to bring you the very best in contemporary design and bold new work. 

Our interiors team have assembled a rich selection of emerging talent from around the world. We kick off our global tour with a surreal journey into the picturesque landscapes of Lanzarote, which provide a hyperreal backdrop for a compendium of graphic furniture pieces by both new and established names. 

Other interiors that caught our eye this month include the Rockwell Group’s ‘cathedral of fried chicken’ in Manhattan, and Manuel Aires Mateus’ new concrete creation on the shores of the Mornington Peninsula. We travel to a contemporary country house set amid the rolling South Downs, visit a little-known treasure by John Lautner, the Pearlman Cabin in California’s San Jacinto Mountains, and delve into a house by Keiji Ashizawa in the Tokyo suburb of Aoyama.

We also present a diverse collection of stories, from the significant renaissance of modern African design visionary Jomo Tariku to artist and environmental activist Andrea Bowers’ new work for Ruinart and writer Jonathan Glancey’s visit to an iconic Italian church.

You can discover Design Holding CEO Daniel Lalonde’s vision for nine of the world’s best-known design brands, read about how Samuel Ross and Kohler came together to reinvent the commode, and visit the new headquarters of Studio Irvine, where Marialaura Irvine is carrying on the legacy of her late husband James Irvine, while also establishing a design agenda based on ‘a whispered dialogue’.

Our fashion team have curated their take on the quintessential trench coat, while we explore the making of Acne Studios’ first fragrance, open up Frank Gehry’s foray into handbags with Louis Vuitton, and learn how to make a move on the ultimate chess set.

And finally… it is with a heavy heart for the past, but much excitement for the future, that I sign off this, my final Editor’s Letter. It has been my great honour and privilege to work for Wallpaper* these last 16 years (having joined on issue W*101 in 2007), and I have so many wonderful memories. Thank you to all of my colleagues, past and present, for their unceasing commitment to this enduring and endlessly creative brand; to the inspirational artists, designers and creatives who have graced these pages and brought such joy and beauty to the designed world; to the craftspeople, makers, brands and galleries who champion creativity and strive to make a difference; and lastly, thank you most of all to you, our wonderful readers, who make Wallpaper* so much more than just a brand. It’s a way of thinking and a way of being.

With love to you all.

Sarah Douglas
Editor-in-Chief

The April 2024 issue of Wallpaper* is available in print from 7 March, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

On the newsstand cover (top left), steel chair, price on request, by Hyungshin Hwang. 

On the limited-edition cover (top right), ‘Galho’ coat hanger, BRL6,100 ($1,228), by Guilherme Wentz, for Wentz Design. ‘Species 3’ sculptural object, price on request, by Fredrikson Stallard. ‘Polarity Panel 3’ mirror, €16,500, by Rive Roshan, from Rademakers Gallery

With influence in most sectors of contemporary design, Samuel Ross has been able to transcend the traditional definitions of high and low, often making complex conceptual ideas understandable by combining relatable images and forms. His ongoing collaboration with American bathroom brand Kohler is no different. Following the release of the ‘Formation 01’ faucet in December 2023, the polymath is now debuting ‘Formation 02’, an equally format-defying smart toilet that
is set to change how we do our business. 

Formation 02 by Samuel Ross for Kohler

It was while interning with Virgil Abloh that Ross honed his interdisciplinary methodology, tackling any brief, for any application, from a holistic standpoint and utilising any intellectual or practical tools necessary. The British multi-hyphenate first gained recognition with his A-Cold-Wall* streetwear fashion label, blending elements from working-class uniforms and high-end tailoring. Collaborations with major brands such as Apple and Nike then allowed him to innovate on what ‘wearable objects’ could be. With the establishment of the London-based industrial design studio SR_A in 2019, Ross began working in a wide range of applications.

Much of his work stems from deep research into philosophy, history, materiality and symbolism, and his use of striking colours, finishes and shapes make his creations appealing on both a tactile and cerebral level. A case in point is Ross’ ‘Formation 01’ faucet for Kohler, which was launched in Miami in 2023. The revolutionary tap was presented in an interactive, monochromatic Haptic Orange installation, the same colour used for the design that harkens back to the brand’s wildly successful 1967 Tiger Lily hue. ‘The idea was to show the flow of water, hearing it surge and move through the pipework system,’ says Ross.

The bold fixture is meant to change how we perceive and interact with the object’s different functions: its flow of water, the mechanism of its handle and spout. Water passes through three tubes interlocking at extreme angles before reaching an integrated head with the inclusion of precision pressure controls ensuring that there’s no disruption in its movement. For the designer, a radical reconfiguration of an object we might otherwise take for granted can help us become more conscious of our daily routines.

‘With daring colour and shape, the hyperbolic yet hyper-efficient ‘Formation 01’ stands out,’ says Ross. ‘We engage with faucets daily. Developing a perspective on this act closely relates to developing new expectations for water solutions for future generations. The faucet brings together the signatures of our industrial design studio: an intentionally abstract, reductive use of form and colour, at times minimal and arresting in application. It links back to the studio’s philosophy of tying experimentation with hyper-visual communication.’

This design was the first to come out of SR_A’s multi-year collaboration with the American manufacturer. Much like Ross, the Wisconsin-based brand, founded in 1873, prides itself on spearheading innovation, working with promising talents while also creating new proprietary materials such as Neolast, which is put to good use in this limited-run collaboration.

During Milan Design Week 2024, Ross and Kohler will be debuting the ‘Formation 02’ smart toilet, the second outcome of their ongoing partnership. Building on the research and conceptual development behind ‘Formation 01’, this reimagined fixture is made in the same Haptic Orange shades.

Its shape is the result of a long process of sketching and modelling. For the designer, the carefully refined form is a gestural nod to the velocity of engineered waterways contouring Earth. The toilet’s massing evokes the types of land formations that help secure the delivery of water across the planet. It was the same thought process that influenced the ‘Formation 01’ faucet and might influence future concepts.

‘The object’s meaning, purpose and historical significance, and how we view the concept of the object, form a quadrant, an axis to iterate upon,’ says Ross. ‘We intentionally move between slightly lucid, artistic expressions of water’s innate characteristic and power while leveraging the user experience, expectation and wider market assessments as a counterweight to synthesise highly expressive thinking with Kohler’s engineering capabilities.’

In a similar spirit, the brand’s goal is to introduce an artful sensibility to its wide array of advanced technologies without compromising on performance or efficiency. The slightly oversized ‘Formation 02’ has a heated seat, automatic flush, dual flushing, bidet function, remote control function and the latest water-saving capabilities. These innovations should be engaged with in a manner that is pleasurable and intelligible, a balancing act that seems to be Ross’ guiding principle and will continue to inform his collaboration with the brand.

‘‘Formation 02’ should be viewed as a functional form, as an effigy of expression and engineering that is part of the human experience,’ says Ross.  

‘Formation 02’ by Kohler x SR_A will be unveiled at FuoriSalone in Milan (16 – 21 April 2024) as part of a site-specific installation by Samuel Ross 

Palazzo del Senato
Via Senato 10

sra.kohler.com
samuel-ross.com

A version of this article appears in the April 2024 Global Interiors Issue of Wallpaper*, available in print from 7 March, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today.

For our 2024 horoscope, we asked Italian astrologist Lumpa for a detailed reading of each star sign's fortunes, and the design objects that identify them:

Lumpa: Happy 2024 everyone! Before proceeding to the annual destinies of the individual signs, I’d like to say something about the year ahead. 2024 is a leap year, and 29 February will be a day full of lucky surprises for some (and unlucky for others). It is a year marked by the transit of Saturn in the sign of Pisces, like in 1994, 1995 and 1996, so it will be easy to notice similarities with those years. So if you were born with Saturn in Pisces, or in the years mentioned above (but also between 1964 and 1966), watch out, as you might easily enter into crisis.

Unlike 2023, which was a very slow year, 2024 will seem to pass very quickly, because Mars and Venus will not retrograde (well, at least until December, let's say). It is a condition that can result in new love, and that makes couples thrive.

It will also be a Chinese Year of the Dragon, which according to tradition should bring rain after periods of drought (and possibly more children).

Wallpaper* 2024 horoscope by Lumpa

Aries

Even if early January is a bit annoying, a very important and beautiful year is about to begin for Aries. It could even be the first of a series, because future years will bring more growth. The year will be defined by a great life change and the beginning of a new cycle of luck. A wish is about to come true, in your emotional or professional life: you saw the first signs of it in 2023, even if that was still a tiring, stressful year. In 2024, you are going to consolidate a new step – it could be a new life, a new career, an important family event, or something in your private sphere. Children are on the way for many Aries. Signs of improvement will be noticed as early as February and March, with a peak in the birthday season. One of the happiest months will be August.

Design for Aries: Aries enjoy bold and colourful pieces – sometimes their choices can be playful or flashy. We picked a classic of Sottsass' Memphis era, a cacophony of colours and shapes. 

Taurus

Many Taureans will feel that just making it to 2024 is an achievement. Recent years have been difficult on many fronts: at work, as a couple, even in health. For many, self-esteem and personal power need to be recovered. The new year ushers in greater strength, physical health and even a bit of luck: the recovery begins. This is a year in which Jupiter will be in your sign and Saturn in your favour, a perfect condition for recovering energy. However, there are also changes to be made; in work, it is necessary to take a new direction and leave your comfort zone, something that is always a little difficult at first, but which will then succeed well. Overall, it is a good year for finances. Even in the area of affection, there is greater wellbeing – anyone looking for a partner, or just wanting someone alongside them, will find what they need.

Design for Taurus: When it comes to interior design, Taureans are big spenders. Always enjoying the most expensive pieces, their style is very classy and sober. Gio Ponti's classic designs feel like a natural fit for this discerning star sign. 

Gemini

2024 will be a memorable year for Geminis, mostly a lucky year, but not entirely easy to manage. Saturn in Pisces is in a critical position and the bearer of changes that are not always easy to implement. Saturn usually brings break-ups, at work and in love, and more generally, challenges personal growth. It is the planet that makes us age, as it brings mental heaviness. This year's events are somehow related to what happened in 2016/17, two critical years. However, there is also good news: the changes brought by Saturn can prove difficult to live with, but positive for your career, and indicate the moment in which you can make a real leap forward. Of course, nothing is free; it all depends on how serious and responsible you have been in recent years. What guarantees that things will go well is mostly the presence of Jupiter in Gemini, always a carrier of luck (and often new love). Those who have the courage to change will be rewarded.

Design for Gemini: Geminis discover new trends and embrace new concepts before everyone else: they fall in love with ideas and stories and their style is in constant evolution. Among the past year's design innovations that they would love is Samuel Ross' bathroom faucet evolution for Kohler. 

Cancer

The beginning of the year might not seem exciting, just as the arrival of the previous autumn was already stressful. 2024, however, is a lucky year, even very lucky for some Cancerians. Saturn and Jupiter are in favourable signs, indicating that there will be important positive news for feelings and finances. For many it is the beginning of a new life – perhaps they have changed jobs, cities, or have become parents (or are about to!), and sometimes the adjustment will be the cause of stress. There is some difficulty in January, and towards April and May. This is a very eventful year, in which there will be a lot of work and a lot of positive feedback. It will often be easy to lose patience, and the commitments will be many.

Design for Cancer: Cancerians love their homes; they're the couch potatoes of the zodiac and surround themselves with cosy and comfortable pieces. We've been eyeing this collaboration between Italian mill Lanerossi and Milan Triennale, resulting in a series of blankets that are a perfect mix of craft, culture and comfort. 

Leo

Leos will find that the future is easier to manage compared to the past couple of years. People of this sign have matured a lot, thanks to complex events and situations that have undermined much of their proverbial personal security. 2024 brings a comeback, but there are still issues to settle, and unexpected events. There will be periods that are not easy to manage, such as February/March and July/August, defined by great impatience. As soon as you understand what is limiting your freedom and find a way to resolve it (perhaps by changing your home, job, or partner), everything will be resolved. Some problems could come from someone you consider a friend, and I recommend you be careful not to take the trust you place in others for granted, because there is the risk of feeling betrayed and disappointed.

Design for Leo: Leos love to show off. They are allergic to mediocrity and choose objects and furniture that express their sense of grandeur. One of modern design's most impressive pieces, the Albero bookcase is both ingenious and sophisticated. 

Virgo

2023 was a tough year for many Virgos. There might have been physical tiredness, health problems, and a multitude of conflicts to manage. 2024 is less belligerent, less tiring, but nevertheless, there will still be things to manage. Saturn is in the sign of Pisces, therefore in opposition. There is a big change that must be faced to regain serenity. It is most likely to do with work, and Virgo is a sign that is always very slow to resign, tending to feel paralysed when faced with risks. The advice is not to wait until you are at your limit to abandon a suffocating situation. In other cases, problems may concern your love life; with Saturn opposite, we often break up. 2023 put relationships through a great stress test, so those who find themselves in a critical emotional situation are probably already aware of it. In 2024, there should be no bad surprises, only important issues to react to.

Design for Virgo: Virgos do a lot of thinking and rethinking before buying. They hate aesthetic arrogance and prefer a minimalist style. Their love for all things vintage made us pick this Ikea cabinet, timeless, modern and essential.  

Libra

I am optimistic for Librans in 2024. I have seen people of the sign mature a lot in recent times and become less self-centred, more aware and wise. There have been many changes in the relationships field, among partners and friends, resulting in a restyling of personal networks. In late 2023, Librans entered a new cycle of life; they have new goals, new allies and a newfound mental independence, and getting to this point wasn't easy (in many cases, relationships ended with suffering). 2024 is a carte blanche on which to begin reimagining your life. There will be new partnerships, in work, in love, and in the world of friendships. Rewriting your life requires great energy, first at the beginning of the year, and again in spring, times which will be intense. In short, 2024 will be a beautiful, but also tiring, year of construction, when important loves can blossom.

Design for Libra: Librans are known for their good taste in design, leaning towards sophisticated minimalism, and enjoy unique pieces known only to the few. They'd appreciate how special this chess set is, designed in 1950 by Carl Auböck and meticulously crafted by hand by the legend's descendants in their Vienna workshop. 

Scorpio

I am happy to be able to write a nice 2024 horoscope for Scorpios: you deserve it after some difficult years. The recent period has left you a little tired, from criticism and conflict at work, and disappointments in your love life. 2024 is the year when you feel more spirited, eager to show the world that difficulties stimulate you rather than take you down. There is a healthy desire to want more: more money, more love, more success – and you'll begin to see the results. The year begins well in January, with determination and planning, and generally continues well, but you will see cyclical setbacks in early March, early July, and even in August. These are useful in making you understand that to truly get more from life, you must also question parts of yourself that you didn't think you wanted to change. Pay attention when you feel impatient or suffocated – that’s when you will understand what you have to leave behind. Scorpios in their thirties must also pay attention to friendships: some people are not as good friends as they say they are.

Design for Scorpio: Scorpios love secrets and mysterious objects. Their taste can have an erotic touch, because they love to play with taboos. Fornasetti's expansive collection of ornate ceramics is their cup of tea, especially the designs at the more humorously kinky end of the spectrum. 

Sagittarius

2023 was a tiring year and Sagittarians will be hoping that 2024 helps them regain confidence. The year ahead will certainly be better, with less tiredness and fewer conflicts. However, Saturn is in a critical position, so there are still difficult issues to deal with. Saturn in Pisces brings a desire for solitude and, in some way, will dampen the enthusiasm and sociability of Sagittarians. It's a moment for introspection; trust this feeling and take advantage of it to look inside yourself. Other problems can come from the economic sphere; it would be better not to spend too much and to take good care of your accounts. At work, it is time to think about a change of direction and, for many, it will be easy to end professional relationships. Finally, the conditions in love are not the best and there could be crises, break-ups or, worse, the beginning of unhealthy relationships. A cycle that began around 2016 is about to end. March and April are the most difficult months.

Design for Sagittarius: Sagittarians don't think twice when it comes to buying, and they're heavy decorators. They enjoy dreamy objects with a history, and shy away from minimalism. We picked a Moroccan rug for them, a vintage piece featuring an abstract Berber design that is sure to be a showstopper in their home. 

Capricorn

2024 for Capricorns begins with great determination; there is a desire to do things and new projects are starting. A beautiful year begins with positive surprises and general growth; it's a good year for finances and for loved ones. The balance is very positive, but there will be moments of stress and tiredness. You seem committed to a new life project, and 2024 feels like a sort of year zero: everything will be under construction. A lucky event will surprise you towards the beginning of April, and its management will keep you very busy for the following two months. This will be trying on a physical level and will test your patience. As always, luck and prosperity never come free, and there will be a certain amount of effort to be made: it could be moving and even changing city. For others, there may be children on the way. Capricorn is not a sign that fears physical fatigue, but is more stressed when dealing with new things or doing something for the first time, in unknown territory. Arm yourself with patience: it will be a beautiful year.

Design for Capricorn: Extreme functionalism is key for Capricorns, who prefer old-school objects without ostentation. A contemporary turntable is the perfect match for them, utilitarian and nostalgic. 

Aquarius

Aquarians leave behind some difficult years, which have made them mature and acquire wisdom. From the birthday season, there will be a real restart. March and April will find you very busy, always at work. The second half of the year, from June, will be peaceful and bring some good news. There is the possibility of new loves, and those who find themselves in bad or unclear relationships will find the possibility of ‘jumping on a better train’, especially in June. Many understood what wasn't working in their lives in the summer of 2023, and 2024 is here to bring a turning point to that dissatisfaction. Aquarians are often slow to process changes, but this year, at a certain point, they will find an edge, greater confidence and therefore also the courage to assert themselves. Finances will also be positively affected by this change in attitude.

Design for Aquarius: Aquarians avoid the mainstream – they're the non-conformists of the zodiac. They enjoy concepts more than aesthetics and fall in love with designs with a twist – like these sunset lamps that add a mysterious glow to a room. 

Pisces

Everything that could have gone into crisis did so in 2023, a truly difficult year for Pisceans. There were conflicts, misunderstandings, physical exhaustion, and worry for yourself or others. 2024 will not reverse the situation 180 degrees, but it will be less trying on a psychophysical level. The problems that emerged in 2023 now need to be resolved. The first thing is to stop taking on other people's problems and emotions and put yourself first. Another important thing will be to ask for clarity and to always tell the truth; be transparent. You are in a period of personal growth, new developments in your career, and a general moment of maturation. However, none of this should be taken for granted, so the advice is to pay close attention to your mistakes, because they will not go unnoticed. The birthday season will be very important.

Design for Pisces: Pisceans have a particular sensitivity for beauty. They are very visual and imaginative, and feel the energy of spaces and objects. Sabine Marcelis' pastel resin and marble combo contributes to the soft atmosphere of their ideal interiors. 

In partnership with Kohler

Kohler and SR_A, the design studio of Samuel Ross,  sought to redefine the movement of water with a new creative collaboration – the ‘Formation 01’ faucet – which made its debut at the bathroom specialist’s Terminal 01 architectural installation at Design Miami 2023. 

The new faucet represents a reimagining of our daily engagement with water, inviting control of flow, intensity and effect. It’s a reflection on our experiential expectations of a tap, and the form it takes. 

Kohler x SR_A at Design Miami

SR_A’s design for the ‘Formation 01’ took centre stage at Kohler’s Design Miami installation. Inspired by the design’s distinctive hue, the space was cast entirely in Haptic Orange and featured two faucets positioned opposite one another. 

Visitors could explore the faucet’s tactile details and precise water control, in addition to the engraved co-branding on Kohler’s signature cast iron escutcheon plate. In the background, an ambient soundtrack echoed the tranquil yet powerful essence of moving water.

Founded in 2019, SR_A integrates atelier principles of craft and the preservation of skilled makers alongside industrial technologies to leverage physical and digital environments. Typical of the studio’s aesthetic, the display at Design Miami was enhanced by textured architectural monoliths and dynamic digital screens, encapsulating the art and engineering behind Kohler’s harnessing of water.

‘Establishing a new relationship to water through engineering and aesthetics is at the top of my mind,’ said Ross. ‘Expertise within the remit of engineering flourishes within Kohler’s on-site ecosystem, and the opportunity to work with specialist artisans and engineers was essential in taking a raw concept and transforming it into a scalable remit.’

The Design Miami presentation was accompanied by various onsite and digital activations, including a panel discussion between Ross, Kohler chair and CEO David Kohler, co-founder of Design Miami Craig Robbins, and curatorial director of Design Miami Anna Carnick.

Experience ‘Formation 01’ in AR

Those who didn’t make it to the display are invited to try an entirely new, specially designed Augmented Reality experience via the Kohler x SR_A website. This custom-designed filter allows viewers to place and engage with ‘Formation 01’ in a setting of their choice, from their own home to a public space. Through such physical and virtual encounters, the Kohler x SR_A collaboration aims to inspire design and bold thinking for all. 

The Kohler x SR_A Drop limited-edition ‘Formation 01’ faucet is being sold in a quantity of 299, and was made available on 13 December 2023. 

For more information, visit sra.kohler.com 

2023 has been a particularly auspicious year for British polymath Dr Samuel Ross. Among a raft of blockbuster brand collaborations, experimental fashion campaigns, and groundbreaking design exhibits, the multifaceted talent developed a paradigm-shifting faucet for American bathroom giant Kohler and debuted the culturally responsive ‘Coarse’ furniture collection with New York gallery Friedman Benda. 

Regardless of what he’s working on, Ross always imbues his projects with an equal measure of decipherability and conceptual reasoning. The ‘Expression.Service.Essence’ project – developed for the Miami Design District (MDD) and revealed for Miami Design Week 2023 – is no different. 

Samuel Ross’ Miami Design District benches: ‘Expression.Service.Essence’

Permanently placed in different locations throughout the burgeoning 6.5-hectare mix-used neighbourhood, 12 emphatically ‘Ross’ benches bring his human-centric sensibility and sculptural aesthetic into the public sphere. For Ross, this commission is a study into the importance of such spaces.

'It is a forum of experimentation that takes shape as an optimistic, expressive, accessible form,' he says. 'Channelling and contorting the behaviours of what it is to fundamentally operate as a British sculptor or artist through seating, the public forum and explicit gestures of optimism are at the core of all 12 functional sculptures.'

Conceived under the moniker of his industrial design studio and creative agency SR_A, the iterative designs reflect the same visual language and formal vocabulary as some of his other concepts: the deft juxtapositioning of organic and rectilinear lines; smooth and rough textures. Ross realised the designs by drawing with charcoal, Indian ink and pencil. The chalk shapes were brought to life by CNC-milling and powder-coating highly durable steel.

'The ambiguity of sculpture and furniture across this particular time, the dual properties presented, is a grey area filled with elasticity,' says Ross. 'At its core, we are discussing servitude, elation, and access, whilst counterbalancing the lightness required to ensure each form invites the viewer to become an end user.' It’s rare that such esoteric ideation can reach such a broad group of people.

The project adds to the district’s already robust offering of interactive furnishings and striking artworks – large, playfully coloured stones and kinetic swings amongst them, alongside the bulbous forms of Lara Bohinc’s ‘Utopia’, recently unveiled for a year-long stint.

'Samuel Ross is one of the most important creatives, artists and critical thinkers working today,' says Craig Robins, president & CEO of Dacra and the force behind much of MDD’s evolution over the years. 'I have followed his work for many years, and personally collect his pieces. I truly admire his ability to meld raw creativity with profound cultural insight to design pieces that inspire viewers to question. His upcoming installation in the heart of the [neighbourhood] promises to be a testament to his visionary prowess and will serve as an immersive, interactive introduction to a new audience.'

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Welcome to our Entertaining issue. It can feel frivolous and indulgent to talk of entertaining at a time such as this. However, the abiding message of bringing people together with love, warmth and generosity is something that we can hold on to, while still sharing our thoughts and wishes for a peaceful resolution to current events in the world.

I was reminded of this dichotomy on a recent trip to Rome, firstly with a magical dinner with friends at Villa d’Este, a Unesco World Heritage Site in Tivoli. The overwhelming outtake of the evening was of love and generosity, of bringing people together, of making time for each other, and creating unforgettable memories in the process.

The next morning I was privileged to be given an exclusive preview of the Don McCullin retrospective at Palazzo Esposizioni Roma, with the great man himself, as well as curator Simon Baker, and the Palazzo’s president, Marco Delogu. Sir Don McCullin is one of the most important photographers of the 20th century, and the show covers key themes of his work: Early Work in London and Berlin; Documentary Practice in the UK; International Documentary and Travel; British Landscapes and Still Life; and the Roman Empire.

The still life shown above, Plants Table, and Mushrooms, seen in our article on the exhibition, resonate with human emotion – they are so rich, calm and exquisite that they took my breath away. McCullin hand-developed all the works in his darkroom – an old shed in the garden at his home in Somerset. He describes his practice as ‘always searching for a new voice in my soul, new ways of expressing myself photographically’ and that ‘occasionally, I should be associated with peace’.

Elsewhere in the issue, we present four Design Miami previews – Vincent Van Duysen’s new furniture collection for stone specialist ARCA; Fendi’s fascinating collaboration with enigmatic duo Bless Studio, titled ‘Backfrontal’; Samuel Ross’ rethink of the bathroom tap for Kohler; and Lara Bohinc’s pastel-coloured organic forms, titled Utopia, for the Miami Design District. 

We showcase Dior’s Joaillerie’s ‘Bois de Rose’ jewellery collection, which pays homage to the classic flower, visit Casa Dragones’ tequila bar in Mexico, and indulge in the world’s most expensive chocolate, from Ecuador. Then we head over to San Francisco for Lindsay Gerber’s sensitive refurbishment of Camino House, an extraordinary house designed in 1969 by Goodwin Steinberg, once a student of Mies van der Rohe, before finishing off with 12 pages of bountiful cocktails and canapés for every performance.

I hope you enjoy the issue and find time over the coming weeks to spend time with your loved ones. 

Sarah Douglas
Editor-in-Chief

The December 2023 issue of Wallpaper* is available in print from 9 November, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

On the cover: From left, glasses, from £145, by Miranda Keyes. ‘Sky’ cocktail sticks, £48 for six, by Aurélien Barbry, for Georg Jensen. ‘Abyss’ vase, $13,810, by Jan Plecháč, for Moser ‘Dinner Service’ cup; plate, both price on request, by Donald Judd, for Puiforcat. ‘Poppea’ goblet, €125, by Sebastian Menschhorn, for Lobmeyr. ‘Amoir Fou’ fabric in 027, £158 per m, by Dedar. Paint in Carte Blanche: Au Lait, £93 for 5 litres, by Christopher John Rogers, for Farrow & Ball

Made famous by his A-Cold-Wall* streetwear label and illustrious collaborations with brands such as Apple, Samuel Ross approaches fashion and product design in an unparalleled way. Trained by polymath superstar Virgil Abloh, the multi-hyphenate in his own right approaches everything from garments and accessories to collectible design furniture with an equal measure of unrestrained experimentation and shrewd pop cultural attentiveness. Ross uses striking colours, captivating finishes, and easily recognisable forms to convey deeper social and philosophical messages. 

Kohler presents the Formation 01 faucet by Samuel Ross

The conception of the new Formation 01 faucet for American bathroom giant Kohler is no different. Making its grand debut in a fully immersive display at Design Miami in December 2023, the bold design takes on an unconventional shape that is meant to change how we perceive and interact with this type of fixture. For Ross, a radical reconfiguration of an object we might otherwise take for granted can help us slow down and become more conscious of our daily routines.

Developed under the auspices of Ross’ London-based industrial design studio SR_A, the new paradigm-shifting, limited-edition product stems from a close, multi-year collaboration with the Wisconsin-based manufacturer announced earlier in 2023. Much like the transdisciplinary designer, the brand prides itself on spearheading innovation. It has done so since its foundation 150 years ago. Working with promising talents throughout that history has long positioned Kohler as a versatile trailblazer.

‘Throughout our history, we have operated on the leading-edge of innovation and creativity – attributes that align with the approach of Samuel and SR_A’s focused endeavour, which we love,’ says David Kohler, Kohler’s chair and CEO. Tapping into the brand’s latest state-of-the-art manufacturing technologies but also harnessing its long-preserved artisanal know-how, Ross set out to create a series of format-defying bathroom products that honour this tradition.

Defined by an angular, rocker-style shape and audacious Haptic Orange colourway, Formation 01 is the first result of this ongoing partnership. ‘The breakthrough idea will help drive our industry leadership forward and challenge us to expand our perspectives of product and process,’ David Kohler adds.

The design reflects back on Kohler’s first yet seminal foray into bathroom fixtures. Back in the 1880s, the family-run business made the auspicious decision to redirect its expertise in casting iron for farming equipment to bathtubs. Formation 01 is moulded as a singular object in a similar process using new proprietary material Neolast. Water passes through three tubes interlocking at extreme angles before reaching an integrated spout with the inclusion of precision pressure controls ensuring that there’s no disruption in its flow. The sculptural faucet sits on a cast iron escutcheon plate mount, imbuing it with even more distinction. In shoring up the feasibility of this revolutionary proposition, Ross and Kohler’s design team paid close attention to proportion, especially when it came to the contouring of the equally expressive handle – the user’s main point of contact with the fixture.

The choice of colour was also critical and served as a clear connection point, tangibly demonstrating the brand and designer’s shared philosophy. Kohler and Ross opted for a bright Industrial Haptic Orange that harkens back to Kohler’s wildly successful Tiger Lily hue – debuted in 1967 – while also perfectly evoking the designer's widely recognised aesthetic.

With daring colour and shape, the hyperbolic yet hyper-efficient Formation 01 stands out. Like any good work of art, its meaning remains open to interpretation. ‘We engage with faucets daily. Developing a perspective on this act as a generational contribution to a form and function study closely relates to developing new expectations for water solutions for future generations,’ Ross says. ‘The faucet brings together the signatures of our industrial design studio SR_A: an intentionally abstract, reductive use of form and colour, at times minimal and arresting in application. The object’s high visibility links back to the collective view we have within the design studio’s philosophy of tying experimentation with hyper-visual communication.’

The Formation 01 faucet by Samuel Ross will be unveiled at Design Miami, 6-10 December 2023

kohler.com
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Polymathic designer Samuel Ross – who founded London-based label A-Cold-Wall* in 2015 – has built his career on collaboration, creating a vast output which spans fashion, furniture, fragrance, industrial design and technology through partnerships with Hublot, Nike, Beats by Dre, Acqua di Parma and more. Each is rooted in craft and experimentation – something Ross has previously credited to his upbringing, with parents who were both artists and dabbled across mediums. ‘I’m the product of a highly educated household that values art and material,’ he told Wallpaper* on the launch of a furniture collection at Design Miami in 2021. ‘There [has always been] this narrative of making and craft.’

His latest A-Cold-Wall* collaboration, with American footwear label Timberland on a version of its signature lug-soled boots, is no different. ‘I think it's good to start with what Timberland means from a cultural and historic standpoint, [and] craft is one of the key focal points which comes to mind,’ Ross says of the project, which coincides with the style’s 50th anniversary. ‘I think this notion of tension and durability and sustenance – these were all underpinning topics that were quite key to ensuring when we started this design process.’

Samuel Ross reimagines the Timberland boot

Honed over a series of prototypes – Ross says there were 15 designs originally in the works – the final boot design strips the style of laces, replacing it with a zip closure to reflect the ergonomic, Brutalist-inspired aesthetic that defines his award-winning output at A-Cold-Wall* (‘I’ve got this lifelong ambition to erode and take away as many eyelets and lacing systems as possible,’ he says). That said, a desire for ’imperfection’ comes in the single-wash leather, designed to age naturally as it is worn. ‘The beauty of this shoe is how it will age and patina over time,’ says Ross. ‘It’s about creating a beautiful object and a beautiful product before creating a fashion piece.’

As for the designer’s personal connection to the classic 6-inch lace-up boot, Ross recounts memories of ‘travelling around the Caribbean, where my family is from, and seeing the brand’s influence on the culture’, some 20 years ago, when he was a child. ‘In places like Barbados and Saint Vincent there is a deep respect for heritage and ensuring the sanctity of craftsmanship. The opportunity to work on a project surrounding the anniversary of the 6-Inch boot immediately pulled a heartstring.’

To accompany the reimagined boot and boat shoe – the latter with a stacked sole and upper decorated with the A-Cold-Wall* and Timberland motifs – is a capsule collection of clothing, which sees Ross ‘reappropriate’ pieces from the Timberland archive (several of which, say the brand, have never been seen before). Comprising a parka, cargo shorts, insulated vest and crewneck sweater, among other pieces, Ross finished the designs with hand-dyeing techniques to ‘establish craftsmanship as a thread of continuity between the footwear and clothes’. As such, Ross worked alongside artisanal makers in Italy on several of the pieces ‘to bring these hand techniques which you can't just replicate’.

‘You've got six different pigments which have been developed to then flick onto the back of the jacket to make sure that each piece is unique,’ Ross explains. ‘And these are simple notions but they’re what we understand to represent human touch, to represent the idea of a maker. We don’t want to make clothes which can be mass-produced, and that’s the philosophy for this capsule as well. In my eyes that’s the enemy.’

The collection arrives as part of a wider collaborative project by Timberland titled Future73, which sees six creative forces from around the world reinterpret some of Timberland’s archival styles in their signature boot’s 50th year. Alongside Ross, these include CLOT founder Edison Chen, artist Nina Chanel Abney, Opening Ceremony founder and designer Humberto Leon, textile designer Suzanne Oude Hengel and designer and sustainability advocate Christopher Raeburn. ‘Our legacy, their vision,’ runs the tagline.

‘What is the feeling of Timberland and how does that correlate to some of my work from a very pragmatic standpoint?’ says Ross of his own approach to the wide-ranging initiative. ‘If you think about A-Cold-Wall* to a degree, it tries to kind of tackle some of the similar topics – this notion of endurance and tension and recontextualizing modern masculinity, which of course is so deeply tied to Timberland. That was the starting point. And then it was also how not to repeat what's already been produced – how do we not distort an icon but also give space for an icon to breathe?’

Timberland and A-Cold-Wall* Future73 capsule is available here.

timberland.co.uk
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‘Land’, marks Black British artist and designer Samuel Ross’ first solo foray into the world of fine art. Ross initially rose to prominence circa 2015 by way of his meticulously crafted fashion label A-Cold-Wall: a thesis on the British class system. For a near decade, he has created body-mapped garments that tackle race and socioeconomics in abstract and visceral manners whilst draping and flowing in beautiful symbiosis with the human form.

‘Land’ by Samuel Ross at White Cube, London

The artist's inaugural solo exhibition at White Cube Bermondsey (until 14 May 2023) is a multisensory experience. The collection consists of sculptures, scents, soundscapes and paintings geared towards the exploration of working-class Black British experiences. Here, a man, self-described as ‘obsessed with the exoskeleton of society’, provides us with an additional lens by which to peek into his conception of the world: what he knows to be true.

Ross has been quietly refining his artistic practice. The oldest of the artworks on display, a three-piece concrete sculpture, was made in 2016. Sitting in the furthest corner of the room, it props up a burning incense stick filling the space with an oaky scent that lingers, tantalising your senses as you manoeuvre through the exhibition.

To the artist, these paintings and sculptures are to be viewed as ‘lucid and open, not rigid’. However, his stylistic and formal decisions hint at a desire to protect, to obscure. Layers of dark red, blue, black and butter-milk paint are heavily applied on soaked duck canvas, concealing and revealing each other to varying degrees. The carefully selected colours are oblique homages to his Caribbean heritage. In an untitled work, we see what appears to be metallic sheets layered on canvas, painted over in dark tones with tiny slivers of their veiled silver sheen occasionally peeking out of an otherwise nightmarish black and grey abyss. 

In conversation, Ross cites American sociologist W.E.B Du Bois’ theory of double consciousness − an inward 'twoness' experienced by members of the African diaspora, brought on by racialised oppression. He also expresses a desire to formulate a pictorial lexicon for what British Caribbean abstraction could look like in the 21st century.

Once Ross’ vision for his work is embraced, these artistic interventions quickly reveal the clear and intelligible story of the internal struggles faced by Black people tasked with integrating into white paradigms. Through these images, we are invited to bear witness to what is likely an all too familiar experience for Ross: the act of sublimation required of Black men, like himself, to operate in not just the creative industries but the world at large. The dawning of harsh exteriors to hide and protect the sensitive and vulnerable man within. In his decision to eschew figuration, opting instead for multisensory emotive abstraction, a welcome deviation from the core-stream art world's post-covid fascination with Black figures, Ross finds compelling ways to create space for intriguing explorations of the Black interior.

'Land' by Samuel Ross is on view until 14 May 2023

White Cube Bermondsey
144-152, Bermondsey St
London SE1 3TQ

whitecube.com
samuel-ross.com

Samuel Ross is not an architect, at least in the traditional sense, but his creative practice is inextricably linked to the semiotics and aesthetics of the discipline.

A Cold Wall*, the clothing line he founded in 2015 when he was only 24 years old, is ‘a material study for social architecture’; Concrete Objects, a range of functional designs co-created with Jobe Burns, are inspired by brutalism and Le Corbusier; and his studio SR_A, ‘operates within the fields of luxury industrial design, interior installation, architecture, furniture design, sound design and sculptural/visual communication’.

His latest project– a redesign of Acqua di Parma’s iconic Colonia bottle– is no exception. Colonia Limited Edition, designed by Samuel Ross sees him repackage the fragrance (which has remained unchanged since 1916) in a new design inspired by the architecture of Milan and London. The new bottle comes in three colours – Sun_Rise_Yellow, Grass_Blade_Green and Ultra_Orange – and features a scaffolding-like window frame in place of the traditional label.

Samuel Ross on the limited edition Colonia bottle

Ross is well-acquainted with both cities – he was born in London and operates SR_A out of 180 Strand; while A-Cold-Wall* relocated its atelier to Milan 2022. But the redesign of Colonia is hardly just an expression of Ross’ own familiarity with the two locations; rather, it is a product of, as Ross describes it, SR_A ‘fracking and mining’ the architectural dialogue between Milan and London in the wake of the Second World War, and then bringing the history of that connection into the present. 

‘We were really looking at are there any connective points between the historic architecture of London across the 20th century in correlation to Milan, which this fragrance represents,’ says Ross. ‘We found post-modern architecture and modernism onward from World War II and this reintegration of what Europe could look like as the focal point. Especially as England has unfortunately left Europe, it felt like it was important to reassert a certain optimism and an optimistic connection between European cities.’

‘Architects that do that when on to inspire this product are Renzo Piano, Richard Rogers, and Superstudio, which all have this Italian-British connection that we really wanted to dive into,’ he continues. ‘And it was particularly those three practices that we focused on because they [express] an optimism in the face of adversity within a post-war society. If I think about post-Brexit and this yearning we have spiritually to be close. I wanted to frack and mine that in the past and bring that forward.’

In addition to the work of Rogers and Piano, Ross sites ‘Massimo and Lella Vignelli’s typographic works across visual maps and routes – specifically the New York Subway’ and ‘modernism’s use of flat bold primary colours, paramount across European architecture and city iconography’, as influences on the bold colour palette of the new collection. Meanwhile, the label draws from ‘the scenography of Milan, London and beyond’.

It is the inherent irony of good design that it takes a lot of thought to create something that seems simple and intuitive. Such is the case with Colonia Limited Edition, designed by Samuel Ross, a perfume bottle that, on its surface, just looks good, but really belies complex considerations and meticulous execution. 

A version of this story appears in the April 2023 issue of Wallpaper*, available now in print, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today 

In partnership with Acqua Di Parma

Created in collaboration with British designer Samuel Ross, Colonia Limited Edition is a new reimagining of Acqua di Parma’s signature fragrance bottle. 

As the first iteration of a three-year partnership between Acqua di Parma and Samuel Ross’ studio SR_A, this version of the brand’s classic Colonia fragrance – first unveiled at Design Miami 2022 – is an artistic play on duality. A project of both conservation and renovation, Colonia Limited Edition by Samuel Ross reshuffles respective design codes to create a new blueprint while respecting brand origins and forms.

Acknowledging Acqua Di Parma’s beginnings – the brand was founded in Parma, Italy, in 1916, with Colonia as its debut fragrance – the new limited edition bottle celebrates the perfume’s timeless appeal. Ross’ dynamic interpretation is an ode to the past, as seen through the designer’s contemporary prism. 

Ross is best known for his menswear brand A-Cold-Wall*, but his work spans industrial design, interior installation, architecture, furniture design, sound design and visual communication, and nods to brutalism and the Bauhaus. His sculptural investigations are a dialogue between craft, engineering and technology. He is always looking at ways to create something contemporary but also to integrate the artisanal touch, through unique patinas and an honest materiality. 

Samuel Ross and Acqua Di Parma Colonia

For his collaboration with Acqua Di Parma, Ross looked to the architecture and attitudes of London and Milan for inspiration. Informed by the structures of Renzo Piano and Richard Rogers, he imagined the sun – an ongoing source of inspiration for Acqua di Parma – blazing across a European cityscape. The play of light informed his vision.  

The result is a bottle in a range of three bold colours. Hyper-flat, super-pigmented, light-absorbing yellow reimagines Acqua Di Parma’s signature colour. Dubbed ‘Sun_Rise_Yellow’ by SR_A, it is juxtaposed with primary shades of ‘Grass_Blade_Green’ and ‘Ultra_Orange’, an industrial nod to Ross’ own practice and spectrum. Together the colours comprise a palette that pays homage to British and Italian modernism.

The bottle – its labelling pared right back – remains true to its original art deco lines, while the golden liquid inside is the same citrus blend as at its first unveiling. Hold the bottle up, watch the light refract, and recall moments in the sunlight.

Crafted in Italy, Acqua di Parma Colonia Limited Edition designed by Samuel Ross will be released globally on 15 March 2023; 300 numbered, special-edition collectors bottles, spanning the three colours, were released on 1 March. 

acquadiparma.com

Kohler has announced a new creative partnership with British artist and designer Samuel Ross and his industrial design studio, SR_A. Developed over the next few years, the collaboration will begin as Kohler celebrates its 150th anniversary, and will first be debuted during Design Miami 2023, with more presentations and experiences set to be unveiled throughout 2024. 

The Wisconsin-based bathroom specialist is no stranger to creative collaboration, having always created special editions with artists and designers alongside its cutting-edge products. Most recently, the brand collaborated with Daniel Arsham on a 3D printed ceramic sink.

'Everyday objects can be works of art and provide delightful interactions,' says David Kohler, Chair and CEO of Kohler Co. 'This concept has always been essential in the way we innovate and design products and experiences, and it will be further elevated in our creative partnership with SR_A.'

The collaboration, Kohler continues, 'will embrace the hallmarks of Samuel Ross’ artistic approach, often avant-garde and thought-provoking.' 

A pupil of the late Virgil Abloh, Ross started streetwear brand A-Cold-Wall* in 2015, and was the recipient of the Hublot Design Prize in 2019. He launched his studio, SR_A (Samuel Ross & Associates) the same year, and presented a full collection of furniture in 2021, with gallery Friedman Benda during Design Miami.

'Our collaboration celebrates Kohler’s 150-year legacy of bold moments, expert craftsmanship and pioneering innovation. What lies ahead is an elevated form of self-expression for the home,' continues Kohler. 

The collaboration, Ross explains, will be based on 'developing a new language for water solutions. We believe expression, and optimism can be communicated through radical engineering, and rechallenging expectations society may have towards familiarised objects. Our intention is to democratise access to design in its purest format, using water as a vessel to transport this idea, whilst openly exploring and questioning, in a search for what’s next.'

kohler.com
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Samuel Ross, the British designer behind London-based label A-Cold-Wall*, has this week announced the fourth instalment of The Samuel Ross Black British Artist Grant Programme, which awards rising Black British talent across various design and creative disciplines – from art to industrial design, fashion to architecture. 

Inaugurated in 2020, the programme first emerged in response to international civil rights protests following the murder of George Floyd at the hands of Minneapolis police that May. ‘We need more visibility and collaboration between the arts and design institution and Black artists, the design industry must engage,’ Ross told Wallpaper* in June 2020. In the time since, 30 grants have been distributed – spanning writers, sculptors, filmmakers, furniture and fashion designers, and those working in VR – with notable recipients including furniture designer Mac Collins, photographer Ronan Mckenzie and architect Dominique Petit-Frère (of Limbo Accra). 

The programme itself comprises a number of £2,500 grants in support of the various recipients’ ongoing work; alongside, those chosen receive mentorship from Ross and an advisory board, which numbers both design luminaries and representatives from some of Britain’s leading institutions, including the Royal College of Art, V&A East, the British Fashion Council, the University of Westminster and the Design Museum.

The Samuel Ross Black British Artist Grant Programme 2022

‘We’re missing perspectives, contributions and creativity that level beyond commercial virtue placements, score sheets and influencer fees,’ Ross said in a foreword to the 2021 edition, which selected ten grant recipients last August. ‘Already a reality amongst the marginalised, barely visible – often invisible – communities that form Britain’s modern society, it seems implausible to not embed a layer of structure and coordination to begin changing this reality, step by step, year on year.’

As such, this ‘fourth chapter’ continues the expansion of the programme, inviting fellow fashion designer Grace Wales Bonner to join the advisory board as guest advisor, as well as Dr Gus Casely-Hayford, an art historian, broadcaster and director of V&A East. ‘I’m excited about seeing the level of talent we can support this year,’ says Wales Bonner in a statement. The programme aims to provide ‘tangible, material change’, giving grant winners ‘the necessary tools and strategies to propel them over the long-term’ and creating a ‘robust infrastructure, one that supports meaningful, collaborative connections between community and industry, integrating Black British talent across the creative landscape,’ as the notes describe. 

Those wishing to be considered for the programme can at apply at community.samuel-ross.com from now until 29 August 2022.

INFORMATION

community.samuel-ross.com

After winning the first Hublot Design Prize in 2019, creating a sculpture for the brand’s 40th anniversary and serving as an ambassador for Hublot ever since, the British fashion designer Samuel Ross has reimagined the label’s iconic Big Bang timepiece to bring a new perspective and visual language to watchmaking. Issued in a limited edition of 50, the Big Bang Tourbillon Samuel Ross brandishes a satin-finish, polished titanium case, a smooth rubber strap in Ross’ signature orange shade and an architectural honeycomb structure, making it a true collector’s piece.

‘Without a doubt, this watch is a completely new reinterpretation of the Big Bang Tourbillon seen through the eyes of Samuel Ross,’ says Hublot’s CEO Ricardo Guadalupe. ‘Together, we were able to play with the codes of the watch, like the case, the titanium honeycomb mesh, the lateral bumpers that protect the case, and the rubber strap and present it in a new way. Hublot is thrilled to take part in a project with a multidisciplinary artist like Samuel Ross, because it pushes our teams to be even more innovative with our ideas, materials, shapes and colours. We are very honoured that Samuel Ross has trusted our production teams to convey his creative vision with our Big Bang.’

Ross says, ‘Our design and development process began as a shared sentiment – the possibility of what the future of watchmaking could look like, across a generation of engineers, collectors and aesthetes. The objective was always rooted in conveying industrial beauty through radical form supported by engineering.’

In Ross’ hands, Hublot’s distinctive Big Bang case – a stylised hexagon – takes on an extra flair with a titanium honeycomb mesh used on the sapphire dial, case back and strap. Considered one of the fundamental building blocks in nature, seen everywhere from beehives to snake scales, the honeycomb structure’s robustness and efficiency bring a modernity and utilitarian aspect to the wristwatch while packing a visual punch.

Ross says, ‘Hublot is industrial design in its purest form. [This design was inspired by] movement, acceleration, industrial beauty [that] reflect[s] our immediate environments. The city, the coarse materials and colours that format our global epicentres. The flecks of deeply saturated tones bring this matter and repeated glints of colour into a universal palette of vigilance and one linked to global melting pots – this is where the prominence of our signature orange takes centre stage.’

Comfort and wearability were also front of mind for Ross. The Big Bang Tourbillon Samuel Ross is intentionally lightweight and teamed with a malleable rubber strap that can be switched out should the wearer prefer a more subdued mood. Sporty orange, however, was specifically chosen for its energy and optimism, and gilds the watch’s tourbillon bridge and lateral bumpers – a striking contrast to the satin-finished case and bezel.

Guadalupe concludes, ‘With [Samuel’s] incredible energy and his unique sensibility to design, we knew that working together would bring to life a one-of-a-kind project. His charisma and creative vision brought out the best of our creative team at Hublot and I think you can see this in the Big Bang Tourbillon Samuel Ross. It’s truly different and unique, and it’s also a great example of Samuel’s love of stark geometry, form and design.’

INFORMATION

hublot.com

There is a lazy, quick take on Samuel Ross that positions him as simply an acolyte of Virgil Abloh and a younger, British varietal. Both have had superficially similar career trajectories, building international fashion brands around streetwear staples – Off-White in Abloh’s case, A-Cold-Wall* in Ross’. Neither went to fashion school, but both have what Ross calls ‘hard skills’; Abloh studied architecture, Ross illustration and graphic design. They both have collaborated with major sportswear brands, Nike most notably, to mutually beneficial effect.

Both share a ferocious work ethic and what can look like imperial ambition; they can come off as calculating and hyper-smart engineers of contemporary desire and the machinery of influence and status. And they are both, of course, Black men in what is still largely a white man’s business. In truth, it is not that one has followed the other, but that both have understood and come to redefine luxury, the new possibilities of brand building, and a creative practice built around collaboration and transdisciplinary activity. Following in the footsteps of Kaws, Kanye, Takashi Murakami and Tom Sachs, they know that the distinctions between street art and fine art, streetwear and catwalk, commerce and activism have all but dissolved. Or rather, that the borderlands between these categories are the most interesting and transformative places to be. 

Both have also created sculptural objects and furniture. Ross and designer Jobe Burns formed Concrete Objects in 2017, to create ‘aesthetically inclined, functional objects’ inspired by the Bauhaus and brutalism. In 2019, he launched SR_A, ‘a studio operating within the fields of luxury industrial design, interior installation, architecture, furniture design, sound design and sculptural/visual communication’. He was awarded the Hublot Design Prize that year. And, as he says, his A-Cold-Wall* catwalk shows were, in effect, large-scale sculptural installations.

Furniture designs by Samuel Ross, and his Design Miami showcase

Earlier this year, under the SR_A umbrella, he created three chairs, ‘Recovery’, ‘Signal-3’ and ‘Trauma’, which were later acquired by Friedman Benda gallery in New York. Never short of conceptual ambition, Ross conceived the collection as tracking 300 years of Black experience, of wrenching dislocation, shattered and recovered identity, and class struggle. And, remarkably, they work as a fresh take on the most essential of design typologies. ‘Trauma’ chair, as the name would imply, is particularly powerful. Tall and imposing, like an African tribal throne, it is built in burned oriented strand board (OSB), lacquered with a mix containing molasses and peppered with die-cut holes. It talks of torture, slavery, wounding, scarring and healing, and has already been acquired by the Dallas Museum of Art.

At this year’s Design Miami, Ross and the gallery will present two new series of work. ‘Rupture’ includes a low table, stool and lounge chair, all in marble and steel, and ‘Amorphous Strand’, two benches in steel and fired OSB. These functional sculptures – a long time in the planning and signalling a new commitment to working in the ‘fine art’ space – seem to get at the specifics of Samuel Ross, the things that actually make him a singular designer and creative practitioner. ‘Putting those materials together felt quite significant,’ he says. ‘It signals the permanence of me moving into design objects, into fine arts. I was always focused on reconstituted materials, and I was interested in the way you can allude to the idea of propagation. And those materials were fibrous and malleable, a bit more elastic. This feels far more concrete.’

‘I’ve been working on this privately for the last five or six years. The pull of the art and design space is really having time to think, and time to iterate, to note and jot and sketch. The time to add to a cultural dialogue’ – Samuel Ross

If the harder materiality of the new pieces marks Ross’ new commitment to sculptural investigations, they are also part of a long-term conversation about craft, engineering and technology that began in his childhood. ‘I think a lot has to do with perspective and identity,’ he says. ‘I was raised by two artists. My mother is a painter, my father a stained-glass artist and a painter. Both went to art school and both dabbled in design. I’m the product of a highly educated household that values art and material, so there is this narrative of making and craft and experimentation. And in the early days of A-Cold-Wall*, I was really looking at ways to integrate the artisan touch and unique patinas.’

This matching of industrial processes and craft processes has been a long-term concern for Ross: ‘I’ve been working on this privately for the last five or six years. And there’s been a lot of learning; how to work materials, fabrications, layers of engineering that come into play.’ Now he has the confidence that he can say what he wants to say in these forms, materials and processes. And he wants to keep doing it. ‘There’s an emotion, a sensitivity, there’s an expression, but there’s also a want, need and desire to learn as much as physically possible about material,’ he says. ‘That physical process is so important. It’s not really just about what I feel like doing, it’s about what’s the most efficient way to convey something.’

The universe of Samuel Ross

Ross is always generous in crediting mentors, confidants and other influences. And he says conversations with the Black Chicago-based artist Theaster Gates have helped shape his thinking around the new design pieces. ‘He has a background in urban planning, in craft and engineering and woodwork, he understands the semantics of materials, the way they can deliver a message.’ 

Ross has always understood the potential of material as message. He had been working as an artist and a freelance designer and created a streetwear label 2wnt4 as a side project when, in 2013, Virgil Abloh messaged him on Instagram. Abloh was working on his Pyrex Vision project and was interested in Ross’ work. Ross interned with Abloh during the inception of Off-White, before advancing to become design assistant at both Off-White and Kanye West’s creative studio, Donda.

He launched A-Cold-Wall* – which he calls ‘a material study for social architecture’ – in 2015, when he was just 24. Backed with a 2,000-word dissertation, A-Cold-Wall* was designed to be a proper brand and not just a conceptual experiment, but it also encoded a particular take on race, class and the Black British experience. 

Commercial success came quickly, but it has perhaps come at a conceptual cost, or at least diverted Ross’ energies. Functional sculpture offers more space to talk about what he wants to talk about: ‘The pull of the art and design space is really having time to think, and time to iterate, to note and jot and sketch. The time to add to a cultural dialogue,’ he says. ‘It’s a completely different mindset to developing garments at the scale we now are. It’s just as fulfilling, but with garments I’m really looking for problems to solve, in the supply chain, material costs, how we communicate with our audience. With the design work, I feel like I can add to channels of thought. I want to ensure that there is balance in what I call the agnostic truth about what it is to be Black British; to move through the class system, to have this dislocated relationship with Africa and West Africa because I’m Caribbean.’

The new pieces also address Ross’ relationship with the promise of modernism and ideas around functionality, service and positive action in the public realm. He wants to leverage all he knows about design in the digital space and his street art and streetwear smarts to introduce the work, and the ideas behind them, to a different audience: ‘The democratisation of fine art and design objects has been something that I’ve been wracking my brain about because it is a closed space for the most part. And so every artwork kind of exists in AR and VR, and as a 3D object, to engage that wider and younger audience.’

Ross is famously hard to keep up with in conversation; he has an intense hunger for ideas, for concepts, theoretical systems. Inevitably, the lack of diversity in design, and ways of addressing it, also commands a lot of his energy and attention. He also understands that there is a model that he, Abloh and others have helped redefine. It’s a model centred around ‘plurality, meritocracy and design, disciplines and deliverables’. It’s about hard skills, hard work, clear intent and working across mediums, talking in a range of voices – much like his biggest influence, the Italian designer Massimo Vignelli. 

We talk about the wave of young architects and designers of colour launching their careers with that kind of energy and creativity, using film, print, theatre,  digital media and more to explain their work and practice. ‘It’s become the new norm and it feels highly optimistic,’ says Ross. ‘It is good to see people kind of stepping off the cliff and understanding there is a finite amount of time we all have and if we’re going to really go at this, we should be high-risk.’

INFORMATION
Friedman Benda presents a solo booth showcasing Ross’ latest works at Design Miami, 1 – 5 December 2021
Ross’ self-published book Object – Form. Form!, £250, is out now
samuel-ross.com
friedmanbenda.com

A version of this article appears in the December 2021 issue of Wallpaper* (W*272), on newsstands and available to subscribers.

Samuel Ross, founder of British menswear fashion label A-Cold-Wall*, has announced the winning recipients for his Black British and POC Artists Grant, 2021 programme. 10 grants, with £2500 offered for each allocation, have been awarded to Black British and POC artists of exceptional talent, spanning Sculpture, Painting, Literature, Writing, Photography, Fashion, Industrial Design, Furniture, Film, VR + AR.

The winning recipients of the Black British and POC Artists Grant, 2021 are:

The winning recipient announcement follows three grant programmes which Ross launched in June 2020, alongside a Black Lives Matter financial aid program, in the wake of the death of Breonna Taylor and George Floyd, and subsequential protests against institutionalised racism which echoed around the world. ‘We need more visibility and collaboration between the arts and design institution and black artists, the design industry must engage,’ Ross told Wallpaper* last year, when he was joined by artist Daniel Arsham, who pledged an additional contribution of £25,000 towards Ross' grant programme. Ross and Arsham selected 10 grant recipients, including Ronan Mckenzie, a photographer, fashion designer and gallerist from the UK, Limbo Accra, an experimental architect from Ghana, and Fumani Khumalo, a painter from South Africa. 

‘Fundamentally, the vanguard of Britain’s soft-power, on a global stage, is missing far too many Black, POC, non-linear voices on both the front and back end of operations. We’re missing perspectives, contributions and creativity that level beyond commercial virtue placements, score sheets and influencer fees,' Ross says in a Foreward to 2021's announcement. ‘Already a reality amongst the marginalised, barely visible – often invisible – communities that form Britain’s modern society, it seems implausible to not embed a layer of structure and coordination to begin changing this reality, step by step, year on year.'

The winning grants were chosen under the advisement and council of the Design Museum, Royal College of Art and the British Fashion Council. Adds Ross, ‘We believe in developing the creative landscape through talent recognition, academic integration, advocacy, institutional support, long-term partnerships, and long form dialogues with leadership institutions who recognise that optimised change comes through infrastructure and design thinking.'

INFORMATION

community.samuel-ross.com

A shared appreciation of industrial design and function characterises the new partnership between Samuel Ross and Hublot. Both have demonstrated a willingness to experiment with atypical materials in commercial contexts. Ross says: ‘It was a very natural process of meshing these key value systems, bringing them together and having an informed dialogue about what a collaboration could look like, what type of materials we would bring forth and what type of techniques and treatments would be encouraged.’

To mark the new partnership, Ross has created both a sculpture and the scenography for Hublot’s 40th anniversary exhibition, currently showing at the Hublot manufacture.

Ross’ sculpture juxtaposes granite with steel in a marriage of organic and industrial materials, a hybrid previously seen in the Hublot Fusion. It is an idea explored further in the sculpture’s finish, which contrasts a traditional mirror polish with technologically advanced CNC milling. The resulting angled polygon, crafted in aluminium, plays on notions of transparency with holes in the structure. Much like a watch it is designed to be handled, and two aluminum rods are there to be played with in a celebration of tactility.

These themes are echoed in the exhibition itself which includes a showing of artefacts Hublot has collected over the last four decades. ‘My role here was to work with the theme in regards to a mood and a value system that these artefacts and design elements permeate to a certain degree,’ says Ross. Ergonomic design, lightweight materials and perforation all distinguish the space, with design elements holding cultural resonance or nodding to Hublot’s championing of sporting prowess.

‘An essential design element would definitely be the stainless steel perforated aluminum display tables,’ he adds. ‘They have a beautiful LED lighting rig which sits underneath the supporting frame and edge of the unit display. We also produced concrete cast watch holders to bring in that texture and character which is associated with Hublot.’ Each piece explores the duality of transience with motion: ‘I’ve tried to capture that through quite linear centralised modular display units. For window displays, there’s this notion of movement, modularity and transparency that runs throughout all the articles and design elements produced for the exhibition.’ 

INFORMATION

hublot.com

Health and wellness are a key focus of this new iteration. Traditionally, a watch focussed on just one thing: time. Today, is that even the most important metric we need to measure our days by? What about health? Weather? Or sleep quality? Communication?

On the countdown to his Spring ‘21 show and in between moving house, Samuel Ross trials the new Apple Watch Series 6. A keen athlete who works 90-hour weeks as standard while being a dad, Ross is well placed to road-test its new functionality and optimisations. The big news: blood oxygen levels can be monitored through the new LED sensor in the crystal on the reverse, and an ECG that can detect a dangerous irregular heartbeat be generated in 30 seconds by simply touching the Digital Crown on the side. Plus, a 20 second timer to promote thorough hand-washing, and a new sleep app will track your resting behaviour. There are new faces that can be custom designed and shared. Siri has become more sophisticated, offering translations into 10 languages. Both ends of the age spectrum are being considered, with location mapping devices for children and an emergency fall SOS sensor for the elderly. Apple watch bands included the Braided Loop, made from 100 per cent recycled materials and the swim- and sweat-proof silicon Solo Loop with no clasps or buckles.

Wallpaper*: Is this your first Apple Watch or have you used one before?

Samuel Ross: I’ve had about four Apple Watches. I use them a lot; about half my time is spent wearing a classic chronograph and half my time is spent with an Apple Watch. I use Apple Watches for health, for tracking and monitoring performance, but also like the work and aptitude – I tend to find that an Apple Watch can keep up with the velocity of my schedule; I often have three of four different calendars overlapping and the Apple Watch is perfect for cross referencing what needs to be done quite quickly. 

W*: What jumps out at you?

SR: Wearable, is an understatement. ‘Device’ removes the layer of the humanistic prowess at play here. ‘Extension of the body’ is the closest term that comes to mind.

W*: Thoughts on the weight and form?

SR: The weight is almost featherweight compared to my Rolex. You don’t always want to be bared down by a heavy wrist, you want to be more dynamic. I’ve previously had a steel titanium case and I would say the immediate difference with the Apple Watch 6 is depth, hue and gradient and grey is a lot richer and sharper. 

W*: There are new strap styles. What strap are you wearing?

SR: I usually wear the stainless-steel Milanese loop, but before the magnets did used to slide a bit. But that’s definitely been improved in this version; the magnets appear to be a lot stronger. I haven’t tried the Solo Loop just yet, but seeing that it’s a singular loop that moulds and warps to your wrist is super interesting. There are a lot of hairline improvements they are making to each model. It’s exciting to see that its not just the OS and key notions such as oxygen level tracking being highlighted, but the functionality and ergonomics of the watch and strap itself have been really developed.

W*: What about the face design? Do you prefer a digital chronograph or something more digital?

SR: I prefer to go for more of an infographic directive for the face. So the chronograph stays as the chronograph and with the Apple Watch I want to be able to absorb and take in as much information as possible. I have calendar, temperature, sunrise, sunset, elevation and air pollution clarity. Wearing an Apple Watch almost takes you into a different psyche. One thing that really interests me is the idea of different faces being changeable to serve different personas and professions. To immediately diversify the cache and catchment pool of individuals is a genius step. How can the watch be allotted to different demographics? They have really made it quite practical and engaging. 

W*: How do you interact with the Apple Watch with regards to health? Will you use the blood oxygen monitor? 

SR: I had my bloods done six months ago and everything looked great, but it’s amazing to know that an Apple Watch can carry a lot of that intel and communicate that back. It speaks to how technology should be integrating in the 21st century. If you look at Home Deus by Yuval Noah Harari, he talks about this a lot. Its good to see companies using the capacity for technology to mesh with the human body in terms of servitude, rather than there being a wider gap with how we work with technology and machinery. It feels like a conversation that is being spearheaded by Apple, to be quite honest, on how tech should be integrated to support the body. 

W*: How do you use the Apple Watch for training? On the 6, the Activity App is renamed Fitness and there are four new routines, including a Dance routine. Is this something you would use?! (There is also Functional Strength Training, Core Training and post-work out Cool Down.) 

SR: Typically, I use it to track when I’m running, hiking and skipping. For me, it’s really about cardio, with body temperature, heart rate, elevation. 

W*: Let’s talk sleep. Do you need help with a bedtime routine? The Wind Down app has meditation routines, can dim your lights. Does this sound appealing?

SR: I need help with sleep. Between moving house, designing the collection, my child, releasing films…the reality is when it’s a 95-hour work week, you need assistance for sleep. So this is something I’m looking forward to exploring and taking advantage of! I think Apple is able to capture a collective shift in the public conscious of wanting to be a lot more receptive and responsive to what the public are asking for and needing from a product, and I think that’s something we can’t overlook. Their ability to actually respond in the form of UX and UI which immediately meet these needs. If you look at the size of the company, and the layers of horizontal and vertical management that are in place, they are still able to respond within a 6-8 month period of what the general public are asking for. It’s really good to see this spirit of humanity and immediate response has not been lost in the continued growth of Apple. 

W*: Do you use Siri on the Watch? Now it can translate into 10 languages – is this something that would be useful to you?

SR: Primarily I use Siri on my iPhone. But the new translation software is something I’m interested in. I bought a translation device recently from a start up on Kickstarter who has produced a small translation device. A brilliant idea, but in reality it wasn’t ready to go to market. A translation device the size of a phone is just not that practical, but to see Apple tackling human dilemmas to a certain degree and integrating it into an existing device, it’s going to be far easier to utilise. 

W*: Do you use the Watch to listen to music? 

SR: I sync across devices. You don’t need to take your phone with you. We all know taking phones running can sometimes be a real irritant.

W*: So, what’s your summary of the Apple Watch Series 6?

SR: Encapsulating both egalitarian glee and furrowed brows fixed on locating a defined pattern through the clouded landscape that has dominated Q1 to Q3 of 2020, I find both clarity and ease engaging with an operating system and ergonomic device that is plural by design. The belief system on which the Apple Watch has steadily matured personifies a malleable, iterative dialogue with its global community – echoing critical altruistic conversations held amongst the design team greatly revered for their cohesion and particularity. 

INFORMATION

Apple Watch Series 6 (GPS) starts at £379 and Apple Watch Series 6 (GPS + Cellular) starts at £479

Samuel Ross tests the 44mm Graphite Stainless Steel Case with Milanese Loop (£749) with the Cypress Green Solo Loop (£49) and the Inverness Green Braided Solo Loop (£99).

Samuel Ross of A-COLD-WALL* was one of the first industry leaders to make a concrete commitment in response to the current civil rights movement sweeping the globe, with his grant series announced in early June. Now, Ross has been joined by Daniel Arsham in a further round of grant giving. In the first of their series of joint initiatives, Ross and Arsham have pledged 10 grants totalling £25,000 ($30,000) to support black artists, industrial designers and architects.

‘Beyond my financial support for Black Lives Matter and other organisations, I have been actively looking for additional ways to support Black creatives directly,' Arsham says. ‘Police reform and social justice are just one part of the puzzle towards dismantling systemic racism in the United States. I reached out to Samuel Ross to enquire about his own initiatives in this area. As a result, I have matched the initial $30,000 that A-COLD-WALL* has given to black entrepreneurs for a new round of grants to black artists and architects. This is just one of many initiatives we are pursuing.'

‘Aplicants from West Africa, South Africa, North America and the United Kingdom formed the majority,’ says Ross, who’s DMs filled rapidly as soon as the grants were announced. He explains the works submitted were ‘less outsider art than expected – the majority of applicants are practitioners and well-versed, mature students exhibiting or in proto stages.’ Ross says the grants are essential in bringing recognition to the work of under-represented creatives. ‘The artists selected are exceptionally talented and incredibly proficient within their practises and yet have not accrued the visibility deserved. We need more visibility and collaboration between the arts and design institution and black artists, the design industry must engage.’

The 10 grant recipients selected by Ross and Arsham include Kusheda Mensah (a furniture designer from the UK); Jarret Key (a painter and sculptor from USA); Nifemi Marcus-Bello (an industrial designer from Nigeria); Ronan Mckenzie (a photographer and gallerist from the UK); Limbo Accra (an experimental architect from Ghana); Kumbirai Makumbe (a digital artist from the UK); Jeffrey Meris (a painter and sculptor from USA); Kobby Adi (an installation and photography artist the UK); LUWA (architectural designers from the UK); and Fumani Khumalo (a painter from South Africa).

It took three methodical but urgent days for Ross and Arsham to narrow down the many applicants. ‘Though speed was a focus, the arts and design community need access to such funds now,’ emphasises Ross. What drew him to particular creatives? ‘The works find you – they pull on emotional chords, or offer a rationale; a well-considered solution to a self-researched brief sensitive to local happenings,’ he says. ‘It’s essential to outline where you stand in the midst of a pandemic and civil rights movement – individuals and companies alike. The primary purpose of having a platform is communication – we’re simply utilising the tools we have, moved by the realities at hand,’ says Ross. 

Samuel Ross, the just-announced winner of the fifth Hublot Design Prize, translates a preoccupation with resocialising public space into his work. ‘I want to encourage interaction in public space to remove perceived social boundaries and uplift the overall psyche of communities,’ he says of one of his artworks, a neon orange steel three-seated bench which has allowed him to showcase his skills in industrial and product design.

Another piece, a refuge point, is designed to house blankets to help those in need of them. Created from upcycled materials developed by himself and Nike Lab, and crafted from recycled plastic bottles, these are the best blankets for those with any eye on sustainability.. Ross hopes in the future they will be freely available in parks, replenished regularly by the council. His methods involve identifying a solution to a social problem he wants to address before applying any creativity. ‘The work has to be steeped in rationale and reason,’ Ross explains. ‘They may look highly artistic, but that’s a veneer on top of the function.’

‘There is a wealth of expression of design represented this year,’ says Hublot CEO Ricardo Guadalupe. As such, the judges, who comprised regular panel member Marva Griffin Wilshire, founder of Salone Satellite, furniture designer Ronan Bouroullec and Serpentine Gallery’s artistic director Hans Ulrich Obrist, had the non-envious task of searching beyond obvious high quality in the six finalists for a distinctly audacious thinker.

Other contenders for the prize this year included architecture professor Mae Ling J. Lokko, artists Marion Pinaffo and Raphaël Pluvinage, designer Shigeki Fujishiro and artist Than Hussein Clark. 

Dimitri Bahler, a designer based in Switzerland, creates products that explore the relationship between volumes, textures and colours. His ’Parobole Lights,’ left, were orginally conceived as a wooden canvas and allow Bahler to play with light and shadow, as the surface of the lamps become a reflector. 

Than Hussein Clark, an American artist based in London, frequently translates a passion for old books into pieces rich in literary and historical references. The ’Jean Bourgoin Table Lamp in the Style of Diego Giacometti’, crafted from cast plaster and with a porcelain light bulb, pays tribute to Swiss designer and sculptor Giacometti.

Architectural scientist Mae-ling Lokko focuses on the upcycling of agrowaste in her work. ’Hack the Root Wall’, left, is grown from mushroom panels amnd suggests an alternative to traditional roots which displace life around it as they grow. 

Marion Pinaffo and Raphaël Pluvinage are fascinated by electronics. ’100 Meters Stories’, right, is a display screen made up of a moving ribbon mounted on a metal frame. It looks at the disparity between the sophisticated nature of how a message is sent and the archaic way it is displayed. 

INFORMATION

hublot.com