I came across the work of talented designer Sarah Colson who creates the amazing Fibula Lux range using everyday items to create something beautiful, more than a sum of its parts. The Fibula Lux launched in Milan this year and comes in five different variations, it can also be tailored to requirements. The range was born from a process driven investigation into finding value and beauty in everyday objects.
The lace work of safety pins is hand assembled and sits over the hand blown glass domes like a delicate web, the glass is hand blown in London. I was fortunate to be able to ask Sarah a few questions about her work and process. Take a look at the Q&A below.
What is your background in design?
I studied Interdisciplinary textile design at UWE and then Design Products at the RCA
What is the process like making one of your light fittings?
The process is long and repetitive, but I find it clears my head. I enjoy the collaborative nature of the glass blowing as you design while you make, but find the web of safety pins sets a rhythm. I set myself targets which are satisfying and listen to books and talks to narrate the make.
How do you go about getting all the different elements made?
I have a great relationship with Jochen Holtz who blows all the glass, we mostly design as we make. His attention to detail is beautiful and he always suggests nice finishes and new styles to experiment with.
The safety pin lace is mainly made by me, but I do have some girls who dip in from time to time. Its a process that once you understand it its hard to forget. Some people get it right away some people run away!
Other elements are from various different suppliers reworked to create my own visual language.
How did you come to work with Jochen Holtz who blows all the glass?
I know Jochen as he shares a studio with my very good friend Attua Aparicio from studio Silo. I know he produces all of Martino Gamper's glass and many other artist and designers in London. He's great, just needs to get his website going
Do you have a favourite part of the design process?
The initial stages is always the most experimental. I select a group of objects or stories and play, play, play!
What did you learn along the way?
Not to give up, that theirs usually something in something, but you may have to reinvent a few times before you get there.
Do you work from a materials first basis or from sketches?
Normally materials. I find the sketches help me work out the overall picture, but the making works out the detail.
What inspires your work? Do you draw inspiration from other sources?
I always find myself at art galleries, I get a lot from Art and the questions that are thrown into the world by sculptural objects. I find them peaceful places where I can let my ideas settle. Most of the time I leave inspired to create.
What are you working on next?
I'm playing at the moment, re-inventing a project I created years ago. I love colour and form and want to indulge in that for a while before I commit to something. I have a lot of very ugly object combinations bound together in my studio at the moment. They are a start and there will be a finish.
Is there something that you would like to try next?
On past residences to Brazil, Romania and Cyprus I've had the privilege to learn and meet some amazingly talented crafts people who have skills that date back centuries. I would really like to try and establish better connections and design outcomes with these skills. Working with Jochen has shown me this is possible, the bigger issue is fining the right material and person to next work with.