The Cork --- An English Cut Publication Zero Issue | Page 42

A light TOUCH

Product designer Michael Anastassiades
talks us through his experimental lighting
collaboration with Flos, and how to reach mainstream
audiences without losing creative integrity

WORDS

ALYN GRIFFITHS
PHOTOGRAPHS

HÉLÈNE BINET

42

THE CORK

They say good things come to those who wait, and Michael Anastassi-

in a good place because I’m able to stand by the values I believe in,”

ades has waited a long time for the success he is currently enjoying.

he explains, “so if I’m uncomfortable or feel cornered I have a choice

For the first time in a career that spans more than two decades, the

to say ‘I don’t believe in this, I’m out’, and that’s a privileged position

48-year-old London-based Cypriot designer has a surplus of exciting

to be in.”

projects to manage, from developing new products with established

The story of how Anastassiades reached this point is typical of

brands to expanding his own collection and curating exhibitions. It’s

many independent creatives who choose to dedicate their careers to

a privileged position, which he attributes to patience and maintaining

the pursuit of deeply held personal values. The designer went to school

his belief in the importance of quality over short-term financial gain.

in Cyprus and completed his military service there before moving to

“I want to keep my ideas as pure as possible,” he claims, “and I don’t

London in 1988 to continue his education. He was encouraged by his

want to compromise because I believe in these products.”

family to study a ‘proper trade’ and gained a Civil Engineering degree

Anastassiades founded his studio in 1994 and is best known for

from Imperial College London before being enticed by the creative

creating sculptural lighting, mirrors and tabletop objects that combine

energy he encountered at the Royal College of Art, where he completed

pure geometric forms with honest materials, such as patinated brass

a masters in Industrial Design.

and mouth-blown opal glass. These objects can be found in some of

After graduating, Anastassiades struck out on his own, developing a

the world’s most prestigious hotels, restaurants and boutiques, while

range of experimental pieces that explored ideas relating to how people

collaborations with leading architects and interior designers, includ-

perceive everyday objects and technology. The designs were well received

ing David Chipperfield, John Pawson and Ilse Crawford, have helped

and exhibited at some of the world’s leading galleries and museums, but

establish his work as a staple of high-end interiors.

were never successful on a commercial level. Attempts to seek manufac-

The coming months will see Anastassiades curate a display at

turers for his early products and lighting designs led to frustration as the

the Paris gallery of a prominent Danish antique dealer, and launch a

relationships faltered over financial complications or a lack of confidence

furniture collection with American firm Herman Miller during Milan’s

in dedicating resources to new design directions. “I found it very drain-

annual design week. He will also oversee the presentation at the com-

ing and also very destructive to the creative process,” the designer says

pany’s city centre store, which will incorporate new additions to his

of this initial experience working with big brands. “I decided I didn’t

own series of lighting designs. The recent surge of interest in his work

want to corrupt myself with this [way of working] and instead I estab-

presents unfamiliar challenges but Anastassiades is enjoying the variety

lished a platform that would allow me the freedom to create without

of work and the control he now has over his studio’s output. “I feel

having to depend on anybody else.”

THE CORK

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