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Marset Featuring
Mix and match
Miguel Vides for Funiculí
Miguel Vides is a graphic designer, photographer and fashion designer from Pamplona, based in Madrid. Interested in the convergence between disciplines, he defines himself as a visual artist. Seeing the work of Miguel Vides means seeing his influence of an analogical past, full of color, with an experimentation of visual codes. In his collaboration with Marset this has been no exception. His proposal works with the new color palette of Funiculí, with which he proposes different combinations between patterns and overlays. Giving new possibilities to an emblematic design.
How would you define your style?
MVFor a long time my style was very minimalist and digital and, in a way, it still is. Over time I have been exploring other languages, more analogical, that interest me more than digital, so I have been adding more varied and different codes. However, whatever I do, I have a very specific vision of what I like and that makes everything I do always have a certain stylistic coherence despite using different visual languages.
What concept did you want to present in your proposal?
MVIn my proposal I wanted to represent the versatility of the lamp, both in its shape and its use, as well as its color. I was interested in thinking about how the user can play with the lamp by modifying the height or turning the head. Therefore, I wanted to present the lamp on very colorful and varied backgrounds in terms of style and technique, arranging it in different sizes to create dynamic compositions, alluding to the object itself and its use.
What was your inspiration for this proposal, did you take into account any kind of references?
MVWhile I was thinking about what I wanted to do, I looked for references in design books in my school library and found a design book from the 70's that inspired me to create varied and very colorful backgrounds. I also did some research on lamp advertisements from the 60's, 70's and 80's and found very funny compositions where lamps of different sizes are superimposed on gradient backgrounds. All this led me to use the language of these posters.
What does this lamp evoke and in what way are you taking it to the scenario you are proposing?
MVOne thing I keep in mind when I do my work is that I don't want what I do to expire over time. As a designer, my goal is that what I do remains valid for years. For that it is essential to have a certain purification and vision of the future, especially at this time where the visual is more saturated than ever.
The Funiculí evokes just this. Its simple but sophisticated design, which eliminates the superfluous to leave an essential object, with its different colors that add a certain casualness. That really encouraged me to play freely with the lamp, because its shape lent itself perfectly. And on the other hand, I’m very interested in the interaction between the object and the user, and I think this game is very present in the lamp, and that playfuness is what I wanted to evoke with my compositions.
Is there any feature of the lamp that stands out for you?
MVI'm very interested in the playful potential of the Funiculí's design, being able to change the angle or height - that, coupled with the range of colors, makes me think that the lamp is designed for me!
Working with light is essential for any artist, what role has light played in your collaboration with Marset?
MVThe light is something that I have had very present in the creation process since I have always taken into account that these are lamps and not simple decorative objects. Therefore, I wanted to represent the light as well, using resources such as gradients or wefts
