mint

What is the background to the establishment of the gallery and what is the concept behind it? Has your origin, education or experiences had any influence on the establishment of the gallery?

Mint was established in 1998 in London. My background is not actually in design, I studied biochemistry at a university in Lebanon and did my Master’s degree in London. However, I have always lived in a contemporary atmosphere, as my father always went to Sweden. I grew up in a very modern house, probably the only one in Jordan, built by a Swiss architect, based on Scandinavian design and surrounded by carefully selected furniture, including oriental carpets and chandeliers. In Lebanon, there has been an influx of people and cultures since the 1970s, and I was exposed to everything from modern design to the classics. When I got married, I started living in London, but there was nothing in London at that time compared to Lebanon. I did so many different jobs, including selling pajamas, robes and other accessories to Harrods and big stores, but at some point I got bored. That’s when someone said to me, ‘Why don’t you turn your ideas into a job’, and that’s when I started the gallery. I was very familiar with design, from classic to modern, and I wanted to do something people have never seen before. It was a bit avant-garde, because there was no contemporary design in London yet. I started small at first and exhibited a lot of art students’ graduation works. The gallery started with Tom Dixon and other designers I admired for their ideas and concepts.

When we had dinner recently, you mentioned that you are always on the search for new talent and that you focus on educating them. There are now so many design galleries in London, as well as in Paris and New York, what do you think is unique about Mint among so many competitors?

We see the huge number of art students’ graduation works every year. The exhibition gives us a sense of what they are feeling now, and what the atmosphere is like from year to year. Trends take three to five years to establish, and you get an indication of this through the work of designers from all over the world. Even though the designers don’t know each other, there is one big stream of thought that eventually leads to innovation, and five years later a new trend is born. We take inspiration from that pulse of design. From there, as a gallery we think about what to show, what to do and what the new trends are, which is a very time-consuming process because we can never tell from just one exhibition.

I think it’s important for gallerists to understand design trends, but you’re catching up on the signs before they become trends. By the way, what do you think are the current trends in design?

The situation is a bit complex now, but there is a lot of focus on sustainable design. In terms of not wanting to consume it quickly or throw it away, it’s the opposite approach to designers who make affordable things. I think innovative design is getting more attention and design pieces are becoming more complex and expensive. However, I find that this leads to extend the life of objects and makes the design more targeted at the wealthy and collectors. The pieces that galleries like ours carry are slowly moving towards collectible design with more innovative materials, and in fact, people want those one-of-a-kind pieces. There are now design galleries all over Europe, including in Belgium and Amsterdam, but there used to not be so many. Rossana Orlandi in Milan started a gallery shortly after me, and then many others started with a similar concept. And now they are commonplace.

The market for collectable design has developed in the 21st century. But are there other reasons for this?

The Dutch Design Academy Eindhoven (DAE) has had a huge impact on changing the scene of design. I started visiting the Milan Design Week 25 years ago, when the most innovative graduation projects were those of art students. Lee Edelkoort, then President of DAE, had a vision that the graduation work would be collectible design. Instead of focusing on everyday objects, she promoted the idea that even graduation works could become collectibles, and designers like Maarten Baas and Studio Job created a big movement that has continued to this day. The first time I saw Maarten Baas’s work was in a very small showroom – it was a small exhibition but really interesting because we could see new works of around ten amazing designers that I had never seen before. There was his baked chair ‘Smoke’, and a floral pattern but made of concrete, which was unexpected and a very innovative use of materials. I immediately assumed that this movement was going to be a trend. When the top starts, it trickles down to the mainstream. If you do something sustainable in a collectible context, in a few years it will become mainstream. Presenting new ideas as collectible design is very advantageous because it is limited and special. Sensitive people will first understand the concept, which will gradually spread to the masses and become something normal.

Lidewij Edelkoort had a very big impact on the design world. Speaking of the Netherlands, how about Droog?

I think Droog Design is the base for this. They have created designs that look fun and have never been seen before. They were also sustainable in that they always look at nature and return to it. When the Droog exhibitions were held in London and Milan, there were queues and they were very attractive to everyone, not just collectors. All the pieces were handmade, well thought out, original and looked new with a different design approach. Then Lidewij Edelkoort came along and worked with DAE to push the idea forward. She maximized it and exposed it to the world. For me, Holland is a pioneer.

Before that, there was a Memphis in Italy.

Yes, there were many movements and each has its own aesthetic and direction. I think Memphis is an amazing design, but we don’t handle it at mint gallery because I feel it looks like a medieval European style. Whereas 18th century British and Scandinavian design is more refined and calmer, whereas Baroque is more expressive and colourful, so there are different styles in different countries. What we like and what we sell are not necessarily essential for a gallery in Amsterdam, and every gallery has different criteria for success and different ways of selling. If Rossana Orlandi can sell the work in Milan, it does not necessarily mean that the same thing will be sold in London. The people, the aesthetics, the environment, everything is different. Even though we look at the same designer, the path to success is very different from one gallery to another, and each has its own individual style, which is also a very good thing.

I see. So what points do you focus on when selecting the works you will showcase in your gallery?

I would start with the visual attraction. It is very important to have an expression that has never been seen before, and to have originality in terms of shape, materials and approach. The quality of the work is also important, of course. And timing is another key point. Because if you can find the right thing at the right time, when someone is looking for something, then the designer is doing the right thing at the right time. And always ask to align with what we are doing in the gallery. Craft, materials, innovation, sustainability, aesthetics… all aspects have to be considered together with the designer and then pick and choose what fits the concept of the gallery. I’m looking for amazing pieces that stand out from the rest of the gallery. That is why innovation and aesthetic originality are important.

Do some client requests sometimes have an influence on the designer’s work?

Yes, It does. A lot of my work involves working with interior designers. They always ask for special sizes and objects to suit the project, so I discuss this with the designer to make sure they get the best possible result. Most of the objects are made by hand, so It can be custom-made to suit the client’s wishes, whether it’s an interior or a piece of furniture. For example, we have a table with a diameter of 120 cm but they might want one with a diameter of 150 cm, or they might want to change a table with 5 rows to 25 rows. This is only possible because it is a niche market, something that is not possible with a production line.

I see. Next, I would like to ask you about Japanese design. Of course there are Japanese designers working with design galleries abroad, but the market for contemporary and collectible design in Japan is not large.

That means there are not many collectors in Japan. I have always wondered why this is the case. Why are Japanese designers limited? The craftsmanship is unbelievably wonderful and maybe they are the most qualified to save the world! But I also think that historically, Japan has been isolated and tended to be closed to itself. And they are minimalists, aren’t they? They only make what they need and are self-disciplined. That’s clearly a different style from Europe, and I think this kind of lifestyle and market principles have influenced it. But in the fashion industry, Japanese companies such as Comme des Garçons broke all the rules of fashion. I think what they have done can be achieved in design. Japanese design has a reputation for quality, and it is natural for the Japanese to combine innovative design with quality. For Japanese, even small items like kitchen knives are not easily discarded because the quality is good. Japanese products are always sustainable and functional. That is why I think the future is very bright for Japanese designers. The whole of Asia is changing now, and China and Korea are focusing on collectible design and galleries, so I think Japanese attitudes will gradually change.

Yes, we have to do our best.

You should always have a bright perspective and do your best.

How do you think contemporary design will change in the future?

I’m not Lee Edelkoort, you know. But when I think about what is happening in the world today, technology is very strong. Virtual reality design is developing more and more, and I think we’re going to see big changes in the future. People will increasingly buy and design things in virtual reality. And you can already buy very complex and unique pieces. On the other hand, I think the craft element will always be there. Because we love to touch and experience things directly, it’s human nature. Craft is merging as part of design and becoming more and more creative. And, after all, I think that design in the future will be more closely related to the environment. Global warming and other environmental issues are unavoidable. Between technology, craft and sustainability, there may be a path for design in the future. Whether they are expressed aesthetically or technologically, I don’t know, but I think they will have a significant impact on the future of design. Also, most recently, the market for contemporary design is getting better. For example, Carpenters Workshop Gallery has opened a very large space, which is a good sign. That’s how active the collectors are.

Finally, please give us a message for readers.

I know you all collect and buy design pieces, but I hope you will follow your instincts and buy what you like and what fascinates your heart. I love to live surrounded by things I like and enjoy having them. Life is short, so please enjoy design, everyone.