O&A London celebrates its 20th anniversary this year! With a growing number of international projects, and to create distinctive collections of furniture, lighting, textiles, wallpaper and rugs under its unique brand, the company develops collaborative projects with amazing and talented people. We are fortunate to work with leaders in their field: people who do not see boundaries and make the impossible possible. We proudly name these creators, not just as partners but as co-designers and friends.
We are now delighted to announce the anniversary project «20 // 20». The project will present a series of exclusive interviews. We are happy to present to you the interview with Michael Vasku and Andreas Klug, creative directors of Preciosa lighting company.
O&A: Michael, Andreas, what did you dream about when you were a child?
MA: We dreamed of things we heard from fairy tales like the magic of nature, the diversity of cultures, and exotic countries. These dreams are still with us today.
O&A: Could you please, tell us about your professional path that eventually led you to Preciosa?
MA: We both studied architecture. Michael also studied building science and Andreas, economics. During our time at university, we started our studio. After the first year, we cooperated for the first time with Preciosa Lighting on conceptual presentations, e.g. “Behind Locked Doors” which was held in the Royal Palace in Vienna in 2014. After the good response, we first became their brand architects and later creative directors with the task to turn Preciosa Lighting from a production company into a Design Brand.
O&A: Preciosa’s goal is to connect people and bring about emotions through light. How do you achieve this goal?
MA: There is a code behind everything you do. It’s based on experience or knowledge you learned in your time here on the earth. As Carl Gustav Jung revealed, this can differ amongst cultural backgrounds, fields of activities, age, and many more parameters. Because of this, we have a huge pool of incredible patterns of human actions and reactions to connect. Translating or referring to these connections make our experienceable designs self-explanatory and we can stimulate emotions and create memories that last.
O&A: You two are creative directors of the company. Could you please, tell us how you’re working on the project? How do you discuss and implement the ideas? Are you complementary or are complete opposites?
MA: There is one thing that differentiates us from most designers: We never start a design on paper; we also never explore design through drawing. The starting point is always a conversation. The discussion always aims to understand the context, find the right questions and reformulate the task over and over again. The conceptual design process itself is only in our minds, or in words that we exchange. Only once we can articulate and agree on an abstract idea, we start using the tools of a designer.
We understand ourselves as a complementary duo where each one brings a lot of different input from different perspectives.
O&A: Tell us about your collaboration with O&A London? Was this project with Anna and Oleg interesting for your company?
MA: The cooperation with Anna and Oleg was great! The two practice a very holistic design approach, combining technical knowledge with an excellent and delicate sense for spaces and design. This is the best base for a collaboration, as they precisely know what they want and where it needs the contribution of the expert or craftsmen. We personally enjoy this kind of collaborations. The difference can always be seen in the final result.
O&A: How do you see the future of design and light? Within 50 – 100 years?
MA: As design is always very much context influenced and inspired, we see possibilities for changes coming not only from the technological side but mainly from neuroscience and brain research. The more we understand about the impact of light on us as human beings, the more it will be possible to react on it and integrate that knowledge into design. Certainly, there will be a stricter differentiation between the qualities of functional and decorative light.
O&A: Could you name the most unique and essential project for Preciosa?
MA: “Breath of Light”. It was Preciosa Lighting’s first step into immersive design. This also meant a huge step internally, not only working with light and construction but also spatial sound and a simple form of artificial intelligence to create a behavior of the installation. This also meant a shift in mind-set in the general understanding of what a chandelier / light installation can bring to a space.
O&A: You always create very concept light interactive installations that attract attention during the exhibitions. What inspires you on creating such objects?
MA: We usually struggle with this question as the inspirations can come at any moment and situation, in every culture, every country, in every kind of mood. What is important for us, what drives us is always the smile of our audience! In this rushed and information flooded world, we want to create an emotional moment of curiosity which makes you feel like an exploring, excited child again.
O&A: What are you dreaming about to create?
MA: We don’t dare to dream to create something. We hope that we will be lucky to experience many more magical unexpected moments, discover new things and learn more from different fields. Everything else comes together afterwards.
O&A: What are you dreaming about today?
MA: Same as when we were little – the magic of nature, the diversity of cultures, and exotic countries. These dreams are still with us today.
Photos: Preciosa Lighting Press Office
O&A London celebrates its 20th anniversary this year! With a growing number of international projects, and in order to create distinctive collections of furniture, lighting, textiles, wallpaper and rugs under its own unique brand, the company develops collaborative projects with amazing and talented people. We are fortunate to work with leaders in their field: people who do not see boundaries and make the impossible possible. We proudly name these creators, not just as partners but as co-designers and friends.
We are now delighted to announce the anniversary project «20 // 20». The project will present a series of exclusive interviews. The interview with Emilio Pimentel-Reid, a UK-based author and creative director who works across the disciplines of design, events, retail and publishing.
Born in the Dominican Republic, Emilio studied Fashion Design at Parsons School of Design in New York. Emilio Pimentel-Reid launched his own multidisciplinary studio in 2012 following many years as the Decorating Editor at ELLE Decoration (UK). His range of commissions blends his interest in contemporary design and historic interiors with a sense of playfulness, rigour and a colourful aesthetic. He currently lives between London, south Somerset and the ancient city of Bath.
O&A: When did you first become interested in the world of interior design?
EP: My mother subscribed to many design magazines when I was growing up and as a teenager I enjoyed escaping into the world that the glossy pages revealed. I now understand how much work, thought and planning goes into conjuring a successful interior – but back then it was just escapism. As a professional I believe an element of escape is an important quality a successful interior should provide.
O&A: Emilio, this year has changed the world. How do you see the future of design?
EP: Luckily the world is always changing. I believe more personal and bespoke interiors, a renewed appreciation of craft and greater respect for the environment will continue as relevant trends.
O&A: What distinguishes an ordinary interior from an extraordinary one?
EP: You know an extraordinary interior the minute you walk into the space. Comfort, beauty, connoisseurship, balance, proportion, appropriateness and confidence all combine with a sprinkling of magic.
O&A: Could you name five international tastemakers whose design work you admire?
EP: Joseph Holtzman – American magazine editor and collector known for his quirky 1990’s magazine ‘Nest’- which featured everything from palaces to igloos and prison cells. It opens your mind up to what a home can be.
Derry Moore – London- based photographer and regular contributor to Architectural Digest over many decades. Moore has photographed important interiors and his eye elevates the spaces he captures with his camera.Oscar de la Renta – the Dominican-American fashion designer whose home and fashion personified a colourful, elegant and well lived life.
Paul Rudolph – American architect and former chair of Yale University’s Department of Architecture known for his modern, brutalist and sexy work including Halston’s NY townhouse.
Vicente Wolf – New York -based Cuban-American interior designer who creates serene balanced interiors combining a range of finds from his travels with bespoke pieces to create supremely well balanced interiors.
They are all worth googling and discovering!
O&A: British design sets trends around the globe. Have you ever heard about Russian design? What does it look like?
EP: Along with my colleagues Sabine Rothman (New York ) and Victoria Murray (London) I have started a new platform called Interiors Academy (@interiorsacademy). The focus is to promote global conversations and to promote international design through an ongoing series of digital talks featuring high profile creatives. We are lucky that on a regular basis we are including designers from Russia and feature their work in Moscow, St. Petersburg and beyond.
In my mind I see Russian design as very international and with very high standards as well-travelled clients expect the best. Russian design is not just one look. Some Russian designers work in a very modern language and others incorporate tradition. To me Russia has always led in its use of wonderful materials taking advantage of the country’s richness in resources. What I would like to discover is more Russian craftsmen. Perhaps I will be lucky one day to be shown around the country by Russian designer colleagues to meet makers.
O&A: The O&A London company was established in Great Britain several years ago. Do you find it a challenge for Russian designers to gain the reputation in the industry of British design? Could you name any advantages of O&A?
EP: It is always a challenge for brands to establish themselves internationally. The UK market is particularly competitive as many brands use Britain as a launching pad to a global audience. It takes time for a brand to become known to both consumers and the press. The main point is to be patient, persistent and consistent.
O & A London is very well placed firstly because it has a very special point of view, Oleg Klodt is very talented and Anna Agapova a true artist. In addition to its beautiful interiors, when it comes to product O&A London has been clever to collaborate with top partners which gives them access to market knowledge and insight as they expand in the UK .
O&A: What is your home style?
EP: My style at home is personal and reflects my interests, upbringing, friendships and mentors. I’m exposed to and work with the most contemporary things in my professional life and yet don’t want to live exclusively surrounded by newness. I appreciate furniture with history and having a couple of pieces dated from the same period as the building acknowledge what the interior could have looked like in the past. They also look great in the context for which they were created. I live with a mix of Georgian, Regency and Victorian furniture as well as designs that have just been launched. Colour and pattern make me happy and the scale of my rooms (the ceilings are over 4 metres) means I have the challenge of plenty of wall space to hang art and textiles. I don’t care about price or provenance in the sense that something good does not need to be expensive. I regularly pick up fabrics, ceramics and many other interesting accessories at vintage shops and online. Other times I do fall for more expensive things that require a little more consideration before I invest. My preference at home is for things that are well made and not disposable – whether old or new. If I really love something, I’m not afraid to go for a trendy piece; I know the trend will eventually be forgotten and I will end up with an object that I love forever.
O&A: Where did the inspiration for your book, Bold British Design, come from and what was the hardest part of writing it?
EP: The idea for this book came from a desire to share the energy and delight I have experienced in my role as a Creative Director collaborating with the many talented individuals I encounter in the UK’s interiors world.
Created in partnership with photographer Sarah Hogan, Bold British Design (BBD) reveals a snapshot of UK design today by showcasing the houses and studios of 21 British-based people working in a range of interiors-related fields. Through profiles and short interviews, we provide context and insight into their design choices. The various spaces reveal distinctive elements of their work, personality, taste and training that led them to create personal, stylish workplaces and homes. The hardest part was narrowing the edit of designers to ensure we featured a range of styles.
O&A: What makes the designers in your book bold?
EP: The designers are bold, not just in the obvious sense of being colourful or quirky (as some gravitate towards muted palettes and their work is subtle) but they are all deeply original, fearless in their interior choices, either breaking the mould or pushing the boundaries of creativity. They are also bold in personal ways, often unconstrained by rules; joyful, and courageous both in how an individual product is made or how disparate elements are bravely combined in a room. They also each exemplify many of the characteristics that make design in the UK unique – a sense of humour and an appreciation for history, craft and modernity.
O&A: What inspires you?
EP: I keep my eyes open and stay curious. I allow myself to get excited about new designs and enjoy discovering historic interiors. I am someone who enjoys being part of our industry which leads me to asking questions, being open to collaborations and new projects.
O&A: Are you thinking about a new book?
EP: Yes I am already putting together ideas and visuals for a new book with my colleague photographer Sarah Hogan. Shooting Bold British Design across different part of the UK opened my eyes to many wonderful creatives and there are new design stories to be told.
O&A: What is next for you?
EP: On a professional level, in addition to a new book, I am focusing on developing new platform @InteriorsAcademy and our consulting service IA Creative a consultancy and production service delivering strategic brand content with an editorial point of view. On a personal level I have a hexagonal shaped folly in the Somerset countryside and plan to allocate time to finish decorating it.
O&A London celebrates its 20th anniversary this year! With a growing number of international projects, and in order to create distinctive collections of furniture, lighting, textiles, wallpaper and rugs under its own unique brand, the company develops collaborative projects with amazing and talented people. We are fortunate to work with leaders in their field: people who do not see boundaries and make the impossible possible. We proudly name these creators, not just as partners but as co-designers and friends.
We are now delighted to announce the anniversary project «20 // 20». The project will present a series of exclusive interviews. The interview with Cory Barber, Creative Director at Holland & Sherry, is about design process, new trends in wallcovering, inspiration and dreams.
Cory Barber, Creative Director at Holland & Sherry, earned his Batchelor of Fine Arts from the State University of New York Purchase College’s School of Art & Design.
O&A: What did you dream about when you were a child?
CB: I grew up in an oceanside town (Long Island, NY). Looking out at the water, I just feel like the world is open to you. I guess I’ve always dreamed about what’s over the horizon.
O&A: Why wallcoverings? Many people still think that wallpaper is something old fashioned, and associates with historic Victorian homes.
CB: I came to wallcoverings from a Fine Art background. At that time, I was an Artists’ Assistant for some of the biggest names in printmaking. Working on projects for Donald Baechler, Chuck Close and more, I could see the connection between printmaking, painting and bespoke wallcovering. At its core, handpainted wallcovering and printmaking has the same goal. Number 1 has to look like Number 46. It’s all about consistent editing. Wallcovering is very personal. You are in control of someone’s environment. It’s where they feel most comfortable. I’m happy to be a part of that. The final result of someone loving their living space is extremely rewarding. With printmaking you get a framed image, – but with wallcovering you get every walls!
O&A: What are the top trends for wallcovering design?
CB: Currently there has been a big push towards murals and tons of color. We in the studio just wrapped up a large handpainted mural project. Five murals for a hotel! It was fun and challenging but a custom handpainted mural is hard to beat.
O&A: When and how did you start your collaboration with Holland & Sherry?
CB: Holland and Sherry approached me when they were interested in creating a handpainted wallcovering studio way back in 2015. I was fortunate that they put their trust in me to build a division they currently didn’t have. Since then we have more than tripled the size of the Wallcovering Studio.
O&A: How do you work on a collection? Who and what inspires you?
CB: Collections are often built with the idea that wallcoverings can stand on their own but also be paired with Holland and Sherry’s Rugs and Fabric department. Sometimes inspiration comes from mistakes. For example the paint might act in a surprising, but interesting way. Then it’s about controlling the mistake so it becomes planned. My biggest inspirations come from the art world.
I was fortunate enough to work alongside Malcolm Morley in his studio on Long Island. He spent a lifetime reinventing himself as an artist. Even in his later years, he was adventurous. It’s impressive when a person creates a “Genre” of painting then moves away from it for others to develop. Ruth Lingen, has been another shining star I look up to. She has been a Print Master to artists on the forefront of fine art since the late 70s. She is a technician second to none and such a joy to be around. Her knowledge is endless.
O&A: What dominates your work: creativity or technology?
CB: A large majority of our designs never see a computer. Our colours are mixed by hand. Our tools are made with hand tools. Our type of handpainting could be done the same way 100 years ago. You need to be creative. I consider the wonderful technological advancements an addition to creation, not the sole way to create.We had to create all new painting techniques.
O&A: Tell us about your insights working on the Caledonia collection?
CB: Caledonia was interesting from a development standpoint. O&A provided plenty of inspiration, from photographs to paragraphs of inspiring words. These were paired with Anna’s detailed and well drafted drawings. The pressure was on! We had to create all new painting techniques to stay true to Anna’s drawings.
O&A: How much time does it take you to make a meter of wallcovering?
CB: 1 meter can take up to 10 mins. Most times it’s well under that and is often done in 30 seconds. The important thing to remember is that it is a layered process. If our wallcovering has 7 steps, we have to paint that 1m of wall covering, 7 times over the course of 7 days. We have to be efficient.
O&A: What do you love about your work?
CB: I love hiring graduates from the Arts Universities. It feels good to be providing steady paychecks to those in the Arts field. I hope they can apply the skills they learn here, to their own artwork.
O&A: What are you dreaming about?
CB: Building a Tiki Hut Raft and floating around lakes and rivers.
O&A London celebrates its 20th anniversary this year! With a growing number of international projects, and in order to create distinctive collections of furniture, lighting, textile, wallpaper and rugs under its unique brand, the company develops collaborative projects with amazing and talented people. We are fortunate to work with leaders in their field: people who do not see boundaries and make the impossible possible. We proudly name these creators, not just as partners but as co-designers and friends.
We are now delighted to announce the anniversary project «20 // 20». The project will present a series of exclusive interviews. The first interview is with the executive Director Riviere company, our faithful partner for ten years, Monique Stamp. Just a few days before the start of the London Design Festival 2020 Monique told about workshops in Nepal, ecological issues and new collaborations.
O&A: Monique, what did you dream about when you were a child? What did you want to be?
MS: I grew up in Wales, Cardiff – a great place with the right balance of city life and nature. I’ve come from quite a creative family, so it was natural for me to follow a creative field. I don’t entirely recall what I dreamed as a child, but as a young teen, I dreamed of becoming an artist or fashion designer.
O&A: Tell us about your professional path? How did you start working for Riviere?
MS: Art, fashion and interiors are subjects I’ve always been attracted to. Having studied art and design whilst working as a make-up artist for TV, theatre and eventually fashion brands such as Dior I stumbled into the world of Riviere. A friend introduced me to company founders Camilla and Leo Riviere. Upon visiting the showroom, I fell in love with the palettes of colour tufts and textures used to create these beautiful pieces. Coupled with the history behind the artisan craftsmanship and creative design process, I recognized the uniqueness and beauty of these exceptional furnishings.
Creativity runs through my blood, so my affinity with beautiful handmade products is absolutely natural for me.
O&A: The company Riviere is famous for its unique process of rugs’ production. Could you please, tell us about the process? Reveal some of your secrets?
MS: The Riviere craft story begins in the Kathmandu Valley of Nepal, where over the centuries production techniques have hardly changed. Each process is still carried out entirely by hand, no machinery is involved. Handcrafted with the finest natural materials such as pure silk and Tibetan wool, the latter of which is prized for its unique high level of Lanolin. Hand sheared from sheep living at high altitudes in the Himalayas, where the cold rough conditions give their coat unique waxy texture. The Lanolin acts as a natural stain guard making the most resilient natural fibres perfect for rug making. Our dye masters are specialised experts and achieve an incredible level of accurate colour matching by eye.
A life-size graph is created for each rug to depict the colour and placement of each knot. The graph is like a mapping system, for our weavers to follow knot by knot.
O&A: Monique, your company has artisanal workshops in Nepal’s Kathmandu Valley and Varanasi and Jaipur in India. How do you solve ecological issues?
MS: In a world increasingly dominated by synthetic materials and virtual reality, we choose natural materials such as wool sourced from the sheep reared in the Himalayas. Wool is one of the eco-friendliest fibres out there. It’s 100% sustainable and 100% renewable, with minimal environmental impact throughout its production process. Always exploring new materials with a low impact on the environment, we’ve recently introduced Tencel silk. Tencel has gained a reputation for the environmentally responsible closed-loop production process, which transforms wood pulp into cellulosic fibres with high resource efficiency and low ecological impact. The water and by products used to produce the fibres are recycled up to 99%.
O&A: Could you, please, tell me about the most complicated / interesting / unusual rug created by Riviere for your clients?
MS: The most complex design to date has to be Ocean from O&A London Caledonia collection. It is quite simply the most breathtaking design we’ve produced and taken the best part of a year to perfect it.
The Design process required high levels of skill and patience. Our challenge to perfect the translation of Anna’s original hand sketches and photographic inspirations meant intense level of details had to be introduced to effectively master the portrayal of the Oceans fluidity whilst defining its movement. Almost 20 colours are required to create the gradient background and speckled movement of the trails of receding waves on wet sands. Each pixel or square had to be colourised accurately to produce the fluidity of colours within the pattern. This was a huge task that required hundreds and hundreds of man-hours.
O&A: How did you meet with Anna Agapova and Oleg Klodt?
MS: I met Anna Agapova & Oleg Klodt at the International trade show Decorex 10 years ago. They were impressed with the level of craftsmanship, the quality of materials and designs; we soon started to collaborate to produce rugs for their Interior Design projects worldwide. However, our relationship with Anna and Oleg led us to partner for the very first time with a design studio to create a collaborative collection of rug designs.[
O&A: How interesting and challenging was it to work with Anna and Oleg for you?
MS: I have found working with Anna and Oleg incredibly impressive, particularly during the development of CALEDONIA. Both designers shared their visions and perspectives: Oleg with his strong sense of clean fine sharp detailing and scale in line with his architectural background. Anna brings her sensibility and influence towards the textures and colours. Many elements are carefully considered such as the scale of patterns, materials best suited to enhance the designs, yarn dying techniques and the finishing techniques to create varying textures, pile heights and three-dimensional effect.
It is fascinating to learn how they design their projects. The partnership has allowed us to develop design ideas and to learn from each other. The only challenges I could say is to exceed their expectations, to produce designs that truly embody the vision for each piece.
O&A: Do you find this partnership successful? Do you have any plans for the new collaborative projects with O&A London?
MS: Absolutely yes, I have found the partnership successful. CALEDONIA collection is such joy to bring to fruition. The collection has generated phenomenal reviews from designers and their clients. And yes, naturally we’ve discussed plans to collaborate to create a new collection.
O&A: Riviere is participating during the program of Focus/20 at London Design Festival in 5 days already. It is the first big offline event after the quarantine, despite the new hybrid format. What are you expecting from this Festival?
MS: We expect to see generously enriched content for the first big offline event post lockdown. With so many design events having been cancelled this year we expect to see lots of product launches, new and visually stimulating designs unveiled. Exhibitions, interior design workshops, discovery tours and guest pop-ups.
O&A: You have included the rug OCEAN from CALEDONIA collection for the Focus/20. Why?
MS: Our focus at this event is highlighting sustainable design, inspired by the artistry of nature: during lockdown we have appreciated the benefits of connecting with nature more than ever. The idea of incorporating ‘biophilic design’ into our décor layering natural elements, textures and designs inspired by nature is crucial for good physical and mental health. Ocean is truly a design that evokes a sense of wellbeing, the Ocean itself is known to energise and bring a meditative state of calm to humans. This coupled with the fact it is handcrafted with natural renewable raw materials.
Besides we’d like to highlight our campaign ‘Save the ocean’ we’ve pledge to give 10% from every Ocean rug sold to ‘4Ocean’ Foundation dedicated to removing plastic rubbish from the ocean as well as saving and preserving marine life.
O&A: What are you dreaming about today?
MS: I dream about sailing around the incredible island of the West Indies and diving the coral reefs. Second, I dream about beginning a new artwork for my home. Third, I cannot stop thinking of how to perfect the next new design collection.
Drop by Riviere showroom between the 14th-18th September for a glass of sparkling and discover the latest installation presenting stunning new sustainable rugs, inspired by the artistry of nature.
Interior design is becoming more and more personalized nowadays. I hardly ever get requests for specific styles lately. Clients are now asking for an interior that matches their own lifestyle. First of all, people come to designers for personal comfort. So we have request for craft furniture and an increasing interest in antiques and objects with history. The trend of ‘reasonable consumption’ is becoming more and more relevant, and vintage pieces are in fashion again. This is no longer the preserve of individual collectors of art, but a popular trend. I see that more and more people want to have not stamped objects, but old and rare things with character, history, soul in their homes.
SPACE
When creating the interior of an old building, the main challenge for me is to preserve and emphasize the historical elements of the building architecture as much as possible– but without forgetting about the functionality needed for a comfortable life. The rhythm of the space is set by the forms of window openings, niches in walls, and historic plasterwork on interior ceilings.. The house itself inspires and whispers ideas.
In an old Moscow apartment we stylized two arched niches, which apparently served as cold cabinets, as fireplaces.
FURNITURE
It may be difficult to find the ideal vintage furniture for modern interiors. It is sometimes better to design and create new pieces. Often these are items from different settings, materials, countries and even centuries. However, it is precisely these combinations of the incongruous that creates a unique eclecticism.
Searching for the ideal antique cabinets we traveled from Moscow to St. Petersburg. These cabinets’ strict architectural lines of a graphite shade showcase the background of bright wallpaper designed by William Morris, with its echoes of medieval gabelen in the bedroom of a country house.
The antique black piano organically fits into a niche of vintage bookshelves. A carved sideboard from a St. Petersburg flea market and a fireplace on old cast-iron stove gives a private apartment in Moscow a truly unique character.
DECORATION
There are never too many accessories in a vintage interior, and it looks quite organic. It is important to find a truly unique item with a story that will be naturally yours. For example, we specially bought gold discs from cult rock bands from a London collector, for a client’s apartment. In general, for inspiration and unique items, I advise everyone to go to London – there are flea markets, art districts, and shops where you can spend half a day, enjoying the atmosphere.
BOOKS & ART
Books in shabby covers found on the shelves of rare bookstores play a very important role in vintage décor, as well as yellow-hued photographs from the last century, which retain the feelings of a bygone era. A stack of antique suitcases can be used as a coffee table. And it is impossible to create a vintage interior without paintings in massive frames.
TEXTILE
There is a real issue in finding original textiles from the past, preserved in good condition. Mostly these are replicas by designers inspired by exhibits in museums. The more valuable are original items found in antique salons or at flea markets. Maybe it’s not too late for you to look into the attic of your grandmother’s country house and find real treasures in the dusty chests.
Vintage items become less and less affordable every year. If you have long dreamed of purchasing an interior item with a history, please hurry up! There is no need to be afraid of old pieces of furniture. We can give them a second life, and they give us fond memories in return.
Text: Anna Agapova, O&A London Creative Director
Today rugs are truly coming back to our homes. They have become not just a fashion décor item but also an investment. We see rugs migrating from the design category into the art objects category when visiting exhibitions such as Design Miami and ART BASEL.
Another good example is a Sotheby’s auction “Arts of the Islamic world and India” that took place in London on the 10th of June and featured 104 rug lots. The most expensive 18th-century rug from Uzbekistan sold for £50 000. The rug is unique because beyond the beauty of the pattern extensive knowledge is hidden – all the elements are positioned in accordance with the geometry of the stars.
For our interiors we choose rugs made from natural materials such as wool and silk. The rugs created with the help of architects and artists are most popular with our clients. They really do look like masterpieces and are a great investment as their artistic and monetary value grows over time. Phillips auctions where “architectural” rugs are sold is proof of this.
Unlike other interior items rugs are chosen to last a long time but it does not mean that general design trends are not applicable to them. If you are looking to refresh your interior the easiest way is to start with the floor, namely with purchasing a rug.
Below are the main fashion trends which are expected to be popular during the upcoming season.
1. Terrazzo
A fashionable Terrazzo effect which consists of concrete or plastic poured over fine-grained stone chippings can be seen in various designer collections for 2020. Initially, this very durable material that can compete aesthetically with marble or granite was used for floors, especially in bathrooms. However, now we can see this effect in textiles and wall finishes. Small and colourful chippings make the space more dynamic, which makes it easier for designers to work with colour.
2. Optical illusions
Art is there to surprise. Dutch artist Celia Hadeler creates rugs that work both as rugs and as wall decoration. Using a ‘Trompe d’oeil’ technique the designer creates outstanding depth and customers can choose where to place the rugs.
3. Floral maximalism
I mentioned floral motifs, which have now become a design trend, several times in the past. The rugs are not an exception and are also affected by the mania for all things floral. Well-known artists are involved in their production. The ornaments are very expressive and even psychedelic. These rugs are designed to act as accentual elements of the interior.
4. Nature lines
Apart from floral motifs a fusion of botanical shapes and animal imagery can be seen in the new collections. The designers use them to address the subject of the environment and the protection of animals. In one of our own designs we used the image of city birds when we accidentally found out that sparrows numbers were dropping dramatically in London and other UK cities. The ornament is executed in the style of the abstract expressionism of Jackson Pollock.
5. Earth Palette
The constant search for something new leads to interesting experiments. Studio Rens presented a collection of graphic rugs which are not just different in shape but also offer a very original colour scheme. All of the shades reflect the “earth palette” which is very fashionable this season.
6. Hand Embroidery
Hand craftsmanship is very important today. And even though no one is surprised to see a designer rug hand woven using traditional tools these days, hand embroidered rugs are seen as very new. The Spanish Silhouette collection by Jaime Hayton is a good example of transferring his sketches to the rugs using a special embroidery technique.
7. Blue is the new black
Having chosen blue as colour of the year, the Panton colour institute stated that this colour reflects the spirit of times. In the age of global crisis this colour reflects mankind’s aspiration for stability, calm and confidence.
In the start of this year at the Maison Object exhibition American designer Gregory Parkinson presented a huge rug collection which immediately became the subject of fashion reviews. It appealed to the public due to its versatility, tactile feel and of course the colour that left no one indifferent.
In conclusion I would like to say that rugs as well as ceramics have been with humans since ancient times. This object has a somewhat sacred meaning and I think a rug can be called the soul of the space.
Text: Anna Agapova, Creative Director, O&A London
The new summer issue of Architectural Digest Russia features the apartment of the Architect Oleg Klodt, O&A London Co-Founder.
Memories of his ancestral home helped architect Oleg Klodt create the interior where his own children are now growing up.
Oleg Klodt and Anna Agapova love interiors with a story. Most of the time they have to recreate this atmosphere from scratch, which in a new-built house means bare walls.
As Oleg Klodt himself admits he would never purchase a property in a newly built development for himself, he chose an apartment in the four-storey house near Gruzinskaya street, Moscow for two reasons: high ceilings and the number of windows.
“A bathroom window is very important for me, and this bathroom has two” – says the architect. There are no curtains on the windows but instead they are fitted with wooden shutters. “I wanted to keep it airy and emphasise the arched windows so nothing gets in the way.” – explains Oleg.
One of the aspects that makes the architect’s home different from the projects he works on for his clients is that everything is simpler and more earthy. For example, the oak floor boards are deliberately rougher and instead of a fire place there is — unexpectedly for a city-dwelling — a stove.
“Our first thought was to put a fireplace in the corner, but I didn’t want to have an ordinary corner fire place as a centrepiece of the reception room” says the architect. “In the meantime we went on holiday to the Italian Alps with the children. The snow falls were so bad it was impossible to ski. We went for a walk and found ourselves in a restaurant where they had a stove like the one on the picture and immediately agreed that this was exactly what we needed”.
The apartment itself helped to create a story behind the interior. Two arch shaped alcoves were discovered during the refurbishment works. Oleg decided to convert them into accentuated niches rather than hiding them. One can be found in the master bedroom and another one in a children’s room.
The apartment has 4 bedrooms and is occupied by 3 of the architect’s children aged eighteen, sixteen and fifteen.
Therefore, the apartment is equally divided into areas: private quarters and a spacious reception which also has three areas branching off it – study, hallway and kitchen. The study room is designed in darker colours, hence looks visually separated from the reception, and the kitchen is partly “dissolved” in the space. The centrepiece of this area is a large wood-covered island with an original pending light fixture above it.
The lack of a large group of sofas makes this apartment different from others. The only small sofa is hiding by the wall next to an antique cupboard.
The centrepiece of the reception room is a large dining table, not a TV-set. There are none in the entire apartment. The family spend a lot of time at the table, talking and playing board games. Oleg Klodt says that the apartment’s occupants passed the self-isolation challenge with flying colours.
To find out more about the Oleg Klodt’s apartment please visit AD Russia website.
For many years O&A London has been working and collaborating with talented artist Stacie McCormick. Stacie’s artworks are always full of unique movement. They decorate our office and complement our projects.
We admire Stacie’s talent and her initiatives that help artists.
Unit 1 Gallery | Workshop is an exhibition and residency space for artists founded by Stacie McCormick. Throughout this period of uncertainty, the gallery has been closed. To support their many artists, Stacie has launched an online fundraiser ‘Money for Our Artists’. The aim is to provide financial support to those who need it.
SM: “The cash grants have no strings attached, so it can help towards the rent, a meal or art materials, whatever the artist chooses. Its purpose is to be a lifeline as well as a demonstration of our commitment to our promise to take care of our members.”
The ‘Money for Our Artists’ fundraiser will continue until the 3rd week in July. To highlight some benefits, when you donate £25 you will receive the ’50 Days, 50 Conversations’ book and when you donate £200 you will receive a Workshop Foundation print of your choice.
We do support Stacie’s initiative and kindly ask our friends, clients, suppliers to help young talents!
You can donate here: https://www.gofundme.com/f/Money-for-Our-Artists
Anna Agapova, Creative Director O&A Design
Traditionally, Milan Design Week takes place every April, and hosts a big exhibition dedicated to the Salone Del Mobile. Seeing new work and attending these events are an important aspect of a successful designer’s work. Professional designers from all over the world visit this event. Here one can witness the birth and death of new trends, up-to-date items, and timeless design.
This year however, due to the global pandemic, the exhibition has been cancelled. So, as a visitor to Milan Design Week every year without fail over the past ten years, I would like to share my views of the trends which, in my opinion, would have been prevalent at the Salone Del Mobile 2020 .
In 2019, looking at the leading companies stands and key installations a movement back towards the eighties was apparent. We saw the aesthetics of disco, floral design, neon, perforations, complex solid colours, and outer space themes. We moved away from conservative styles, moving instead to the creation of completely new objects.
Let us look at these in a little more detail.
1. Floral designs
There are only a few people in the history of design and fashion that not only created items but also managed to create an easily recognisable brand. One of these names is the famous British textile and interior designer Laura Ashley, who brought floral themes and large bright prints into our homes in the eighties. A floral craze started in 1983 after Ms Ashley published her book on floral design, instantly winning many hearts.
In Milan we saw many variations of floral design used in wallpaper, upholstery and wall coverings.
2. Asian motifs
Stands that looked like finished interiors shared one feature that deserves a separate mention – an abundance of plants. Bringing the “jungle” into homes is borrowed by western designers from Asian households. We are talking about large exotic plants that can often be seen in Asian interiors.
We can also see oriental elements in the new furniture collections. The eighties were the years of innovation and travel.Inspired by their visits to Asia, designers enthusiastically borrowed and integrated various approaches and elements they had encountered on their travels into traditional European design.
3. Neon Rush
Neon entered the cities in the eighties with the first billboards.
During Milan Design Week 2019 we saw various expressions in neon, from individual flexible neon tubes to huge bold stands. For example Versace Home presented their home collection within a private residence. Interior designer Sasha Bikoff and artist Andy Dickson turned the space into a wild remix of prints and shades – neon clouds, a Miami palm paradise and Santa Barbara as we saw them watching the films of the eighties.
4. Leopard Print
Last year leopard prints were on display at several interior exhibitions, including, surprisingly, Scandinavian ones.
The main trend setters in Milan were the flamboyant designers Emiliano Salci and Britt Moran from the Dimore Studio. In their studio they presented the Visioni project, dedicated to the aristocratic Gabriela Crespi, the first female interior designer. The designers covered the walls in leopard print. Crespi travelled widely and created her collections using various techniques and materials such as bamboo, latten brass and bronze. The items she created were beautiful, glamorous and understated. This is why Emiliano Salci and Britt Moran chose such an extravagant background for their Gabriela Crespi collection.
This duo also debuted another project, dedicated to the launch of their own line of furniture and lighting. The designers turned an old cinema into a home, dividing the spaces with velvet curtains and covering the area with leopard prints rugs.
Here one could see all the stylistic elements of the eighties: disco lights, fringes, combinations of heavy velvet and silk, white and yellow metals, perforations, an armchair shaped as a catapulting space ship seat and bold “illogical” colour combinations.
5. The return of brown
Brown is coming back in wooden wall panels, laminated floors and terracotta furniture, actively making its way into the interior.
6. Dark interiors / ‘Home as shelter’
Overall the colour scheme of the stands and interiors of last year was predominantly dark warm colours. Historians and design theorists explain this tendency by the fact that in times of social and economic crisis humans view their homes as shelters, ready to weave a nest and wrap themselves up in a cocoon, and this explains the colours, recalling Louis Vuitton’s cocoon armchair that became an Instagram hit.
We were very struck by the prominence of the theme of ‘home as shelter’ in press releases covering new collections in 2019. Now we can see how accurately these designers were able to predict the events of 2020.
Text: Anna Agapova
Photo: Salone Del Mobile, Press Office
Elle Decoration is highlighting O&A Design studio new residential project in a luxury real estate development.
The recently completed apartment is like a jewellery box – full of individual and unique items.
The central elements of the dining room are the table and chairs from O&A London furniture collection.
The designers paid special attention to the overall general background of the space, which – despite its monochrome appearance – is marked by original detail. One of the bedrooms boasts handmade wallpaper from the Caledonia collection by Anna and Oleg, which was manufactured in collaboration with Holland & Sherry. The collection was inspired by the Scottish landscapes and the design used in this project (Staffa, Tranquil) imitates basalt pillars of the Staffa island. The poetic name of the colour is reinforced by the special tranquil atmosphere created in the bedroom.
Anna Agapova said of the design: “Despite the prevailing grey throughout this project, the interior turned out amazingly warm, saturated and enveloping. It transfixes you and allows you to rest and enjoy the silence and domestic bliss”.
The Caledonia fabric collection was used for curtains and pillows.
Photo: Mikhail Loskutov
To find out more about the project please visit O&A Design studio website
Studio. magazine, March 2020 is highlighting the best merchandise, events and products worldwide.
We are happy that our first rugs collection Caledonia is included in a new rugs feature.
“A beautiful hand-knotted carpet can be a backdrop or the star of an interior design setting. It can work to tie every component of the overall design together for a harmonious result and appeals to all the senses – a pleasure to look at, soft and comfortable to touch, and it gives a hushed sound.” Lady Deirdre Dyson
The new Caledonia Collection of hand-knotted rugs is the result of a collaboration O&A London with Riviere Rugs. The range includes five designs – Ocean, Heather, Shells, Celtic and Sound of Fingal’s Cave – with each reflecting a deep sense of the beauty the designers experienced on their first visit to Scotland.
Manufactured from Tibetan wool and Chinese silk, the rugs can be customised in any colour, size and shape.
To find out more about the Caledonia collection
O&A London collections are now available in a new showroom of Art Rugs Gallery Russia, Moscow.
This is the second showroom Oleg Klodt and Anna Agapova designed for the Art Rugs Gallery. The first opened in Chelsea Harbour Design Centre in London in Spring 2019.
The owners’ central idea was to create a diverse boutique featuring not just rugs but also various art pieces such as sculptures and paintings as well as collectable furniture and lights.
To read more about the design concept please visit our Interior Design Studio site www.oa-design.com
Address: Plyushikha 37, Moscow, Russia
The World of Interiors magazine, January 2020 is highlighting the best merchandise, events and products worldwide.
We are happy that our first furniture collection O&A London is included in the feature written by Sophia Salaman, the journalists and interior design connoisseur.
On the images:
Mintaka floor lamp
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Mintaka, Floor Lamp
The Mintaka floor lamp is the embodiment of how to balance contrasting materials. The innovative asymmetry of the fastenings makes it possible to keep the base on a single plane, giving the piece a unique character. The metal rings in the base emit an even LED glow that serves as both a light source and a subtle ornamental effect.
Pictor II armchair
Delicate airiness is the defining characteristic of the Pictor II armchair, giving it a sculptural quality and exuding a sense of comfort and calm. Its simple elegance enables it to co-exist with other pieces harmoniously.
Alnilam sofa
The Alnilam sofa is distinguished by its subtle shape and spacious console-style seating upholstered in the finest natural New Zealand lambswool. Subtly aged brushed brass sets off the deeper tone of the upholstery, and fabrics and veneers can be customised to match interiors and preferences.
The collection is available in our showroom:
Design Centre Chelsea Harbour
Art Rugs Gallery
Third Floor North Dome
Design Centre Chelsea Harbour
London SW10 0XE
As we approach the most family-oriented holiday season so loved by many I would like to share some tips. These tips will not only create a happy and cosy atmosphere in your home but also will help add some stylish detail which in time will become an integral part of your family’s Christmas tradition.
Сlassic or contemporary?
So first of all let’s decide what sort of interior we are working with – classic or contemporary. We live in the UK where a traditional approach to interior still prevails and this is also true when it comes to Christmas decorations. While these are a joy to see it also gives food for thought to a designer who still wants to add something new to the traditional English approach.
Ideas for traditional Victorian spaces
For traditional Victorian spaces I suggest light contemporary decorations which will emphasise the style of the interior style and make it appear airy at the same time.
Alternatives to a traditional Christmas tree. First of all, instead of a traditional Christmas tree various floral compositions can be created using fresh or artificial flowers (depending on the budget) and cedar tree, thuja, larch-tree and pine tree branches. These bouquets will not only fill the room with an amazing pine aroma but will also be a great centrepiece if placed next to a fireplace, for example.
Window decoration. Windows are the second most important element when it comes to Christmas decorations. Here I suggest we move away from fairly lights and snowflakes and turn to installations. Handmade hanging decorations created using Christmas baubles will be very eye catching. You can use cotton wool, felted wool and knitting yarns. These decorations will retain the warmth that comes from your family members’ and friends’ hands, and involve all of you in the creative process. It could become a favourite set of decorations for years to come.
Ceramics installations. Nothing is as warming and cosy as ceramics. Our recent Christmas installation in one of London’s boutique hotels is a very good example of this. As we know, first impressions about a hotel are formed by the guests in the first two minutes. This is why it was so important to create the right image for the hotel lobby, as this is the first space that the guests see. Especially for this lobby, I designed and created a composition of five little ceramic houses with flameless candles inside. The idea was to create a Christmassy atmosphere and make the guests feel closer to their own homes. This approach not only helped make the traditional interior more “contemporary” but also made the lobby very popular for socialising.
This kind of installation can fully replace the traditional Christmas tree. It is also very economical as it can be made from paper or even baked.
Contemporary interiors
Fill the space with history. When designing interiors, I always strive to fill the space with history and give the impression that the house has been lived in for many generations. Therefore I pay special attention to those details that tell us about the interior, and those who live in it.
Vintage tree decorations. Of course, Christmas tree decorations can share a story of generations. But if it so happens that there are no such decorations in your home, I urge you to buy several vintage ones. It is very possible that it will be a start of a new hobby and you will become a collector of Christmas decorations.
Eucalyptus, candles and fresh flowers. In conclusion I would like to mention an interior project that I created for someone who really knows about art. As my client’s extensive paintings collection required subtle surroundings, we decided to create a light design in the neaclassical style and compliment it with sophisticated bespoke furniture pieces made according to our drawings. This project was due to be completed in the run up to Christmas and the client asked us to also include some Christmas decoration.
Read more on Seasonal decoration
I wish Merry Christmas and Happy New Year
Yours, Anna Agapova
Our Caledonia, a new rugs collection is featured in a December issue of ELLE DECORATION magazine.
Thank you to the editorial team!
View the Caledonia rugs collection
Photo: Mikhail Loskutov
Interior Designer Magazine quizzed Anna Agapova, Creative Director, O&A Design, about what makes her tick at work.
If you could go back and design in a different period of history, when would it be and why?
My creative journey began in Russia where Avant-garde was especially popular, but to me personally, Art Deco felt like a style I could relate to much more. Art Deco as a style is intentionally expensive and is aimed at the middle classes, which is why it was carefully avoided in the soviet times. Unlike the stern and functional style of Avant-garde architecture Art Deco was not trying to build the new and just world of the future. It simply allowed one to enjoy life in the here and now. This style combined everything that its authors loved so much, the exotic style of the East, historic themes, new technologies, expensive materials and modern art, especially cubism. Cocktails, jazz and art deco brought to London, Paris and Milan the joy and excitement of life that enveloped America, which had not suffered the destruction of the First World War. This is the style that has always opposed pessimism. This style always inspired me and can easily be seen in my own O&A furniture and lighting collections.
Much like a workout anthem, what kind of music inspires you at work?
I am very musical and have worked out a system for myself. For example, when I am considering a client’s offer I prefer to listen to classical music. This increases my concentration. Mozart is especially good for it. Scientists even have a term called the Mozart Effect. However, Beethoven is my all-time favourite. When I am working on a concept, I choose music without lyrics, like Brian Eno. As the deadlines and project delivery dates draw near, I prefer pop music. I love The Beatles. Before the final presentation of the concept to the client I chose rock music, which fills me with confidence.
Which iconic figure, past or present, would you love to design a home for?
I love complicated challenges and this is why I would like to design a home for Leonardo da Vinci, the universal human being and genius. He was an engineer, scientist, sculptor and artist who never stopped searching. To design a home for a person who works at this pace would be a real challenge for me. The task would be made even more complicated by the fact that not much is known about Leonardo’s personal life. He used encrypted messages for his diary entries and even after deciphering them the researchers did not get that much information.
What film or television series for you encapsulates the perfect on-screen interior?
I prefer film directors who use architecture for visual effects. In Metropolis by Fritz Lang, Art Deco was chosen as a style for the anti-utopian city, and in The Grand Budapest Hotel the architecture defines the story line; the intertwining of a stolen painting and the love stories would not have happened had the hotel layout been differently. The characters would not have behaved like hopeless romantics and ironic sceptics had they existed in a different reality.
I consider Dogville to be one of the most powerful modern films, making one doubt the role of an architect. The plot takes place in a cartoon city where everything is empty, featureless and strictly functional. The architecture is abstract, it is just the background where the social drama unravels.
Name another designer working now whose sense of style you admire
I am very focused on textile design at the moment as I am getting ready to launch my second collection, so I would like to reveal the name of my teacher mentor who I admire endlessly, Bernie de Le Cuona. When I see her design there is no doubt in my mind that this is real art.
We offer up to 75% discount for our stunning art piece:
LIMITED EDITION: ALNILAM sofa
The Alnilam sofa is distinguished by its subtle shape and spacious seating upholstered in the finest natural New Zealand lambswool. The sofa has an elliptical shape and is finished with hi-gloss Ebony Makassarveneer and polished nickel. View the description
Retail price: 48 000 GBP incl. VAT
Price after 75% discount: 12 000 GBP incl.VAT
The Alnilam sofa is available to view in Art Rugs Gallery showroom, Third Floor, North Dome, Design Centre Chelsea Harbour, London SW10 0XE
Please contact our sales team for the details info@oa-london.com
T: +44 (0) 2039 814 788
M: +44 (0) 7504 256 049
We are excited to announce that our showroom has been shortlisted for the Public Space Awards 2019 – Retail Interior category.
The first collaborative showroom of two luxury brands Art Rugs Gallery and O&A London was opened at the world’s premier destination for design and decoration excellence — Design Centre, Chelsea Harbour, in March 2019.
The new showroom was designed by architect Oleg Klodt and designer Anna Agapova in the aesthetic of an art gallery. The designers succeeded in creating a stylish interior which reflected and reinforces the principles of the luxury brands and created an immersive customer experience.
The designers’ ultimate aim is that every client can select the product that is perfectly suitable for them or create their unique piece. They are pleased to have an opportunity to provide clients, interior designers, decorators and architects of the UK with exceptional products.
Photo: Anders Gramer
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Combining Art, Design, Architecture and Theatre
Oleg Klodt and Anna Agapova presented a conceptual installation ‘OFFLINE’ created at the Best Interior Festival 2019.
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The designers were invited by the Union of Architects of Russia to participate in a project titled “Interiors as the theatre”. The art project explores the role of an architect in scenography.
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The concept was about the boundaries of Love. The designers’ interpretation was put in a contemporary hight tech world of context, on a bigger scale than just the gender relationships.
The designers created two zones – black and white. The white one symbolises emptiness with the projection of the iPhone screen with an open messenger chat – the modern way of interaction.
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The black part is about good old days reality filled with emotions, paper books, love letters, history and literature. We see a scriptwriter or a film director getting inspiration from the real-life stories and transforming them to the masterpieces. And it gives us hope and aspirations for the future.
Read the Interview with Oleg Klodt about the concept on www.archi.ru
The art installation was awarded by the Union of Architects of Russia as the best art project presented at the Festival.
Project team: Anna Agapova, Aleksandra Klodt, Oleg Klodt, Alla Yaskovets
The Union of Architect of Russia
Photo: Roman Pankratov
We are proud to be featured in the special issue of ARCHITECTURAL DIGEST – ‘BEST RUSSIAN DESIGNERS 2019’ ⠀
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Every autumn AD Russia magazine releases a list of 100 best architects and designers in the country, a tradition adopted from the “American brother”, Architectural Digest magazine.
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In 2014, the editors of AD Russia compiled and published their first “AD BEST” list showing Anna and Oleg names. Since then, we have never left this rating.
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Thank you to the editorial team for the high evaluation of projects and products! We will do our best to keep up the highest quality work and contribute to the design heritage and development.
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We are delighted to announce that our studio latest residential project “Modern Constructivism” was awarded Premium Living Award 2021.
Nomination: “Traditions. Interior of the house 300 sq.m. more” nomination.
The Award is initiated and organised by the Council Of Experts of Interior Design and Architectural Environment!
The winners of the PREMIUM LIVING AWARD 2021 were announced on December, 11, 2021 at the award ceremony in Moscow.
We are delighted to announce that our studio latest residential project was shortlisted in a top 100 best Premium Living Residential projects.
The Award is initiated and organised by ARCHIPROFI design community and the Council Of Experts of Interior Design and Architectural Environment!
Luxury private apartment in the heart of Moscow — Wine House, Nomination Apartment, less than 150 sq. m.
The apartment is like a jewellery box – full of individual and unique items. The central elements of the dining room are the table and chairs from O&A’s Oleg and Anna’s first furniture collection.
The designers paid special attention to the overall general background of the space, which – despite its monochrome appearance – is marked by original detail. One of the bedrooms boasts handmade wallpaper from the Caledonia collection by Anna and Oleg, which was manufactured in collaboration with Holland & Sherry. The collection was inspired by the Scottish landscapes, and the design used in this project (Staffa, Tranquil) imitates basalt pillars of the Staffa island. The poetic name of the colour is reinforced by the special tranquil atmosphere created in the bedroom.
Also, the designers used the textile from O&A London Caledonia collection.
Anna Agapova said of the design: “Despite the prevailing grey throughout this project, the interior turned out amazingly warm, saturated and enveloping. It transfixes you and allows you to rest and enjoy the silence and domestic bliss”.
Highlighting our recent publication in The Worlds of Interiors.
The CALEDONIA Collection reflects the deeply intimate sense of beauty that designers Anna Agapova and Oleg Klodt felt on their first visit to Scotland. Being inspired by the majestic Scottish landscape, the designers created a story that journeyed around the land of the Celts and is reflected in the 5 unique designs.
On the image our key design. ‘Ocean’ Design has a pattern reminiscent of the trails left by receding waves on the wet sand. It is unpredictable, like water, taking multiple shapes and forms before returning to the bosom of the sea.
Discover our new Caledonia handmade rugs collection created in partnership with Riviere Rugs.
Oleg Klodt and Anna Agapova, co-founders of O&A LONDON, were nominated the Best Designers of the Year 2019!
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Every year ELLE DECORATION RUSSIA announces the designers who have created revolutionary and inspiring work that has defined the style of modern homes.
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We want to thank the editorial team for the high appreciation of O&A London collections and congratulate to all our colleagues!
This award is the best gift for O&A London brand 2 years birthday.
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Oleg and Anna’s story as product designers started 19 years ago with design bespoke items for their interior projects. But only two years ago, the designers decided to consolidate their bespoke furniture production experience under own brand.
By taking inspiration from key design movements and iconic moments in history, such as Bauhaus and the Art-Deco, Anna and Oleg have created something classically rooted for the contemporary interior.
The first time O&A London furniture collection was shown in London at the Holiday House exhibition 2017.
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The last year the emerging brand made the second big step, and was extended with textile & wallpaper collection CALEDONIA produced in collaboration with Holland & Sherry.
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In spring 2019 the first O&A London showroom was opened in Chelsea Harbour Design Centre.
In autumn 2019 designers presented their first rugs collection produced in collaboration with British company Riviere Rugs.
We feel inspired and ready to achieve new heights!
We were delighted to showcase our handcrafted luxury rug designs at Decorex International, Olympia London from 6th to 9th of October.
For those who missed the launch of the collaborative collection CALEDONIA at Focus Festival, this was an excellent opportunity to discover the OCEAN rug at the show.
‘Ocean’ Design has a pattern reminiscent of the trails left by receding waves on the wet sand. It is unpredictable, like water, taking multiple shapes and forms before returning to the bosom of the sea.
‘Caledonia’ is a luxurious collection of wool and silk rugs created in partnership with and Riviere Rugs that is inspired by the majestic Scottish landscape.
Sophisticated nature-inspired design and traditional artisanal techniques put together result in a true masterpiece. Every rug is fully handcrafted in Nepal.
Decorex is a four-day interior design show for professionals, celebrating the people taking interior design to the next level.
Thanks to all who visited us, we hope you enjoyed this fantastic design show!
This Autumn Oleg Klodt and Anna Agapova presented their second furniture collection Synthesys.
The new collection was created in partnership with The Odd Chair Company, an English company which has been offering its customers furniture of unique style and quality for over 40 years, created by skilled craftsmen in their own workshops in the North-West of England.
During the creation of the new collection, the designers were led by an idea to manufacture a product line that falls within a more democratic price bracket while at the same time being more universal in terms of style.
This aim dictated the method. The new collection is very close to constructionism in style and the main principles are mobility, functionality and succinctness. At the same time every product reflects the unique signature of its designers – elegant lines and immaculate detail.
All of the items are characterised by artful playing with shapes and volume, where laconic geometry is compensated by sophisticated decorative accents. Vibrancy and synthesis are the main principles of this collection which also inspired its name.
One of the advantages of the Synthesys collection is the possibility of wide customisation. The client gets the opportunity to be a co-author changing the colour, size and materials to taste and create objects that reflect their own individuality.
Following an established O&A tradition every item derives its name from various constellations and galaxies.
The ORION table has an unusual shape which is expertly executed. It comprises three supports that go through the table top. The contrast of leather, wood and metal makes this item a stylish addition to soft furniture ensembles.
The OCTANTIS table was inspired by nature, specifically the curves of a boulder. This sculptural table carved from wood will provide an elegant addition to the area around the fireplace or paired with a soft furniture ensemble in sitting rooms.
The APODIS sofa is designed to be the centrepiece of any interior and to attract attention from any angle. Architect Oleg Klodt created this original shape playing with dimensions and volume. The harmony of this composition is achieved due to designer Anna Agapova’s immaculate attention to every small detail.
The CETI armchair provides a harmonious addition to the APODIS sofa. The main feature of this chair is the contrast between a heavy backrest and an elegantly shaped seat. The absence of armrests takes away the bulkiness associated with this item of furniture. The unusual support system gives the chair its light floating appearance.
The DELPHINI chaise has combines the functionality of an armchair and sofa. This helps with space management which is especially useful in small rooms. The diversity of shapes and curves makes this chaise the embodiment of playfulness.
Text: Alla Yaskovets
In September 2019 the design duo of Oleg Klodt and Anna Agapova revealed their unique second lighting collection. The new collection is inspired by modernism and functional designs of high-tech architecture. The designers’ approach is in transforming functional details in decorative elements. Oleg and Anna do it with the style, wit and elegance!
Oleg Klodt: “From my experience, not many designers and manufacturers pay attention to hiding functional elements such as lamps, cables and wires thinking that decorative elements are attracting the viewers’ attention. As a result, there are not so many chandeliers that are entitled to be refined in design and are smart from the engineering perspective, especially when thinking in terms of oversize lighting fixtures”.
The new chandeliers fill the gap in the luxury lighting market. These items are shining examples of smart elegance and design intelligence.
The Altair chandelier is the perfect piece for high-ceiling space, including atriums and staircases. The chandelier presents an art piece where every detail is carefully thought out and beautifully implemented. The bearing structure is elegant and geometrical. All functional elements are hidden in metal bars and balls, that play the role of main decorative features. Lamps are not visible, and the light softly passes through trapezius vertical glass units that are arranged in staggered formations. Altair chandelier is an eclectic chandelier with elements of ArtDeco and is suitable for any modern interior.
The Meridian chandelier is a laconic luxury piece which brings a unique atmosphere to any surrounding, especially to modern bedrooms and living rooms. The chandelier features an acrylic lampshade covered in sophisticated thin metal chains. The soft, whispering sound of strings fill the space with relaxing vibes. The lamps are not visible due to the acrylic platform, which is a smart design trick. The light is reflected and passes evenly through the sides of the lamp. All the functional elements are not visible. This lighting fixture is a genuine piece of jewellery for the interior.
The chandeliers can be customised in any size and finish.
O&A London
After years of designing private and commercial projects, Oleg and Anna noticed that certain items are hard to find on the market. As a result, the next obvious step was to create a whole new brand: O&A London. Designers began to create pieces that they could not find on the market to suit their projects.
The main brand values of O&A London brand are timeless design, universality and architectural approach.
Anna Agapova, Creative Director of O&A London: “Trends are replacing one another at an increasing rate and often mixing. But every time, as they come to the fold again, they are transformed due to the new technology, and this is exciting for us in the furniture sector. We are confident that designers and architects will continue to create spaces and products that link us with the past. People’s desire to remain in spaces of comfort and calm where they can explore real human connections remains as true as ever. This is why we created the brand O&A London, reflecting these values and striving to offer our clients something timeless”.
We are proud to be featured in the special October issue of COVETED magazine – ‘The best Interior Designers of London’ , 2019⠀
Read the article online
In the autumn of 2019, O&A London is presenting its first collection of hand-made rugs CALEDONIA. The collection was created in partnership with Riviere Rugs, an English company known for its unique approach to manufacturing which is based on centuries-old weaving traditions of Nepal masters.
The CALEDONIA Collection reflects the deeply intimate sense of beauty that designers Anna Agapova and Oleg Klodt felt on their first visit to Scotland, where the images of their new wallpaper and fabrics collection took shape. Being inspired by the majestic Scottish landscape, the designers created a story that journeyed around the land of the Celts and is reflected in the 5 unique designs.
‘Ocean’ Design has a pattern reminiscent of the trails left by receding waves on the wet sand. It is unpredictable, like water, taking multiple shapes and forms before returning to the bosom of the sea.
In ‘Shells’ Design, the natural pattern of a shell resembles a map of a journey veined by a myriad of roads.
‘Sound of Fingal’s Cave’ Design is inspired by the highland of Staffa based on majestic architecture formed from the natural phenomenon of hexagonal jointed basalt. Similar in structure to the Giant’s Causeway in Northern Ireland.
The laconic, airy pattern of ‘Heather’ Design subtly encapsulates the inimitable charm of this flower, that is tender yet tough and strong.
‘Celtic’ Design is a reflection of ancient symbols that have become part of a long legacy of Scottish heritage. They’ve often been immortalized in poetry, songs and music, and are tightly woven into the colourful history of this fascinating country.
CALEDONIA collection is the result of the talented tandem of O&A London and Riviere Rugs and was created using only natural materials such as the finest high-grade Tibetan wool and pure Chinese silk. The uniqueness of this collection is the potential for wide customization. Changing the colour, size, and the print scale, every client will have a unique work of art.
The experience gained by Oleg & Anna in over ten years of collaboration with Riviere Rugs for their own projects has led to this partnership of an exclusive collection.
The collection is available in the Riviere Rugs boutique at the following address:
46 Lots Road, London, SW10 0QF
Photographer: Mikhail Loskutov
Stylist: Natasha Varnikova
Text: Alla Yaskovets
Our AVIOR chandelier was featured by the Traits D’co Magazine.
A statement piece suitable for both minimalist and classical interiors, the AVIOR chandelier almost appears weightless due to its finely judged proportions and meticulously engineered construction.
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The internal light sources are directed at reflective spheres which fill the room with delicate golden light.
The chandelier was presented at Salone Del Mobile 2019.
Manufacturer: Preciosa Lighting