Madrid: FORMA of Design

For me, this visit was my first introduction to the city. Despite the fact that my Ukrainian design gallery in Paris already has Spanish clients, I had never been to Madrid before. Therefore, this trip had a clear research goal: to “smell the air” — to understand what contemporary Spanish design is all about, what trends there are, how the market works, what business models are being formed, and most importantly — whether this scene can become promising for Ukrainian design.

Even before visiting FORMA, I was struck by the sense of freedom and lightness that permeates Madrid's creative industries, from architecture to object design, from galleries to temporary exhibition projects.

The program was extremely eventful, in addition to the exhibition itself, we visited a number of key locations throughout the city: showrooms, workshops, galleries, special exhibitions in museums scattered throughout the design week, abandoned industrial premises transformed into modern exhibition spaces (such as the main FORMA location). We were shown the most interesting things - a concentrate of what is shaping the face of Spanish design today.

And here an important comparison with Paris immediately appears. If Paris is a center of taste, where design often has a more established, refined, even to some extent bourgeois character, then Madrid is much more dynamic, more lively, more daring. It is a city of experimentation, rapid change and openness to new approaches, in particular ecological and innovative ones. At least that is the impression I got.

A new format for collection design

In fact, the FORMA exhibition is the first attempt to create a platform for collectible design on an international scale in Madrid.

It took place at the Central de Diseño (DIMAD) in Matadero Madrid and brought together around 50 participants - designers, studios, brands and galleries. Approximately 85% of them were Spanish, but there were also foreign representatives.

Held concurrently with Madrid's most famous art fair, ARCO, FORMA attracted a new audience by combining art and design.

It is especially important that the exhibition format is flexible: both galleries and independent designers can participate. This fundamentally distinguishes FORMA from fairs such as PAD Paris or Design Miami, where participation is limited to a gallery format.

FORMA also implemented a parallel professional program, Per(FORMA), a series of discussions, presentations, meetings, and educational events aimed at market development, networking, and international cooperation.

Why is collectible design in the spotlight now? Interest in collectible design is not a local trend. We see the same thing at major international events, in particular at Maison&Objet, which in recent years has also focused on this segment. The reason is obvious: a certain circle of buyers appreciates and seeks uniqueness.

It's about an audience willing to pay more for handwork, limited editions, an original idea, material honesty, and the poetry and emotion embodied in a utilitarian object.

So, this is a domain where the value of an object is determined not only or not at all by function, but by the cultural, narrative, and emotional content of the object.

And this is where Ukrainian design has a very strong position - thanks to the craft tradition, work with natural materials and a tendency to create unique or limited objects. And this is also reinforced by the tendency when our designers do not follow the needs of the market in creating objects, but rather strive to materialize their artistic or creative ideas first, and then think about how to sell it or adapt it to the market.

Regarding this, of course, you are aware that collectible design is starting to gain momentum (in the millions) at auctions.

The FORMA exhibition clearly demonstrated a shift towards hybridity — between design and art, in fact, like all exhibitions of collectible design. However, FORMA seemed to me more experimental than reputable, in the sense of the names of the designers. Perhaps because it is the first project in this format, but also because of the general priorities of Spanish contemporary design, which I described above. FORMA definitely gave the impression of being more democratic, not in the sense of the prices of the objects, but in the sense of a more high-profile concept of collectible design, which boldly experiments with eco- and recycled materials.

Ecology as a new aesthetic

We saw how this works in practice in the workshop of Lucas Muñoz Muñoz, one of the most famous contemporary Spanish creators and researchers, who works at the intersection of architecture and design. His approach is a systemic ecological practice: wooden structures assembled without nails using Japanese technology, the use of scrap metal from landfills, working with recycled materials, including such unexpected ones as bottle corks, and all this is based on aesthetic asceticism and the principle of sustainable consumption. This is not about the aesthetics of "eco" as a style, but about a holistic philosophy of production and consumption. I really want Ukrainian design to adopt this experience.

Another strong example is the ACdO studio, founded by Álvaro Catalán de Ocón, and its stand-alone project PET Lamp. In my opinion, this is a perfect example of how design can become a tool for sustainable development and the preservation of local artisanal traditions. And not Spanish ones, either.

Since 2011, the PET Lamp project has been reimagining plastic bottles, transforming them into designer lamps in collaboration with artisans in Latin America, Africa and Asia, highlighting cultural diversity and drawing attention to the problem of plastic waste. Traditional weaving techniques are combined with modern design, each collection is created through research and joint workshops of European designers with local craftsmen. I dream of a similar program within Ukraine.

The Madrid Design Festival aims to put the city on the international map and ensure that the voice of Spanish design is heard loud and clear.

I was particularly impressed by the rug we saw in the studio: with a world map showing the most plastic-polluted areas of the oceans and rivers (of course, the threads are also made from recycled plastic). This is an example of design that is not only aesthetic, but also communicative — it literally beautifully speaks to its owner about global problems.

New eco-luxury and quiet values

From an aesthetic point of view, several directions can be distinguished at the exhibition.

The first is a delicate attraction to neo-baroque: rounded shapes, complex plastic, expensive materials, but without excess.

The second one is textile return, but in a completely new format. For example, the works of Regina Dejimenez, who creates voluminous, almost sculptural objects from thin cotton or even gauze through draping and working with light.

The third one is brutal naturalness of materials: raw wood, living texture, no fear of “imperfections.” And here I should also note that the cost of the material takes a back seat, giving way to the idea and concept of smart consumption: one small textile wall sculpture by Regina Dejimenez made of gauze cost 14,000 euros.

This all fits well into the concept of the so-called "new luxury" - when value is not openly demonstrated, but exists at the level of sensation: hidden beauty, hidden purity, hidden energy.

Even with significant financial resources, certain buyers and collectors today are not looking for showiness, but for meaning, ethics, and responsibility.

Market and investments

It is worth noting the interest of private capital in innovative projects.

We have seen examples where investors are willing to invest resources not only in commercially obvious products, but also in experimental developments related to recycling, new materials and responsible consumption. A great example is the Infinito Delicias project, also created by Lucas Muñoz Muñoz. Ask around - you will be amazed. Of course, I asked about the budget: almost thirty million euros of private funds invested in an experimental project. For me, this speaks of the formation of a new type of market, where economic logic is combined with value, and value prevails.

I want to give another example: this is a huge Spanish furniture company called Actiu. Just take a look at their website (we were in the showroom and listened to an inspiring speech by the co-owner of the company, Soledad Berbegal, who, together with her two sisters, inherited it from her father and turned it into an ecologically sustainable production with an annual turnover of 100 million euros.

Another strong example is the ACdO studio, founded by Álvaro Catalán de Ocón, and its separate project PET Lamp. In my opinion, this is a perfect example of how design can become a tool for sustainable development and the preservation of local craft traditions. And not Spanish ones. By the way, one of the PET Lamps received the Loewe Craft Prize.

In the 1970s, it was Actiu that first began mass-producing TV stands, which became very popular. This was an important innovation, because the TV was then the center of the living room. Today, Actiu is a family-run giant that has perfectly organized production with a priority on the rational use of all resources and the reuse of waste. And the furniture is perfect in every aspect. By the way, at Milan Design Week, the company will present a new collection of tables AXIS, developed in collaboration with Tom Dixon and Cosentino.

Is there a place for Ukrainian design??

To sum up, we can confidently say: Ukrainian collectible design has a place at FORMA.

Moreover, it organically fits into the trends that today determine the development of this scene: handmade, natural materials, limited editions, ethical production, emotion in the object.

Whether Ukraine will participate next year is an open question. But the potential for this is obvious.

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Sana Moreau

Specially from Madrid for PRAGMATIKA.MEDIA

Photos provided by FORMA press service