Furniture designers across Russia are tapping deeply rooted local traditions as the market experiences remarkable growth, with 28,000 furniture enterprises registered as of 2023. This surge highlights not just the number of businesses but also the increasing consumer interest toward products inspired by local culture. At the Artdom exhibition, regional brand founders discussed their strategies for showcasing their work and debated whether 'local' design genuinely exists.
Notably, VM Gallery seeks to create high-design items bridging the gap between furniture and art. Founders Vaagn Mikaelyan and Lilit Nikogosyan noted common traits across various ethnic motifs. “Studying ethnic motifs, we realized all peoples exhibit shared features,” they reflected, as they showcased their collection entitled "Roots," which symbolizes humanity's common ancestry. “By selecting items with deep cultural significance, we have made the public increasingly receptive to our designs over the last five years,” they noted. Their approach points to the broader trend of reinterpreting local identity beyond mere reproductions of historical artifacts.
Lavdansky Studio also confronts local identity through the lens of early Christian philosophy and ancient Russian culture. Co-founder Semen Lavdansky stated, “Our brand reflects the beauty of church and temple aesthetics, preserving much of Russian identity and crafts. We explore the sacred contexts and everyday rituals of the time.” His vision involves not only preserving the past but framing it through the lens of contemporaneity, appealing especially to younger consumers eager for roots.
Conversely, Ivan and Olga Salovarov, founders of Ivasa, emphasized the organic nature of local design shaped by community self-identity. They draw inspiration from the Far East, naming their creations after Russian geographical features, with pieces like the "Taiga" and "Lotus" sofa echoing the region's beauty. “Local design is natural,” they affirmed. “It's about self-identity and rediscovering history.” Their designs combine contemporary aesthetics with cultural homage, offering buyers a coherent narrative of local heritage.
Not everyone agrees on the matter of local design, as global influences seep heavily across industries. Vadim Yanov and Milena Bellich, founders of Trend.red, suggest design transcends locality, stating, “Design has international character and becomes decorative art only when its value is localized.” Innovation, they argue, can arise from anywhere, addressing universal human needs rather than anchored solely by cultural roots.
Architect and designer Peter Safiullin of Yaratam Design contends the term 'local design' does not accurately reflect modern design practices. “Design is inherently not tied to locality,” he asserted. He points out his professional experience spans cities around the world, underscoring how design evolves to meet the demands of different markets and locales. “A designer isn't whimsically attached to one geographical identity,” he elaborated, insisting on the importance of adaptability rather than confinement.
Despite differing opinions on what 'local' means, many designers recognize the undeniable trend toward local cultures and histories, especially among new startups vying for recognition against established giants. Creating limited-edition collections, the designers engage deeply with materials and technologies, invoking significant dedication and research.
Milen Bellich shared insights from the production challenges faced with their metallic "Kastaneda" chaise lounge. “It was much more complex than anticipated to find the ideal proportions, merging three different radii seamlessly,” she explained. The search for the right aesthetic demanded adjustments and compromises as they navigated the realities of production limits. "Achieving the bends required impeccable precision. Having to rely on craftspeople for delicate attributes was integral to retaining the design's intent," she added.
Equally, Lavdansky Studio encounters hurdles with logistics; their stunning marble tables, weighing around 700 kg, require specialized transportation mechanisms. “Moving this type of table is no simple task,” Semen Lavdansky explained, noting the unique contraptions crafted to safely deliver such hefty pieces without damaging their delicate compositions.
Modern design exhibitions have shifted significantly from static displays to immersive experiences. Major international events, including Salone del Mobile or Maison&Objet, not only attract large crowds but also curate conceptual experiences with organized dialogues. “Participation itself signifies the brand's caliber,” stressed industry experts.
When choosing which exhibition to attend, market presence plays an undeniable role. A target audience share of 30% to 80% can significantly affect outcomes, with federal exhibitions yielding up to 200 leads and specialized events providing around 100. “Our experience at Artdom show how impactful exhibitions can be,” said Ivan and Olga Salovarov. “We devised unique wall pieces for our booth, which helped us gather over 100 new contacts during the event.”
Conversations at these gatherings tend to break down barriers more effectively than digital platforms. “Despite digital avenues, exhibitions allow for the most substantial engagement,” they emphasized, with familiar nuances cultivatable only through face-to-face interactions.
Budgeting for exhibition participation can be tricky, weighing concepts against costs. Vaagn Mikaelyan noted, “While direct sales might not occur at events, we observe returns within the year with sales often doubling.” Efforts invested also yield significant social media interest, boosting their engagement metrics across platforms.
Exhibitions become craft stories centered on powerful branding. They showcase not only the products but the overarching identities of the brands themselves. “Potential clients are searching for how to style their homes innovatively,” noted Oksana Panfilova of Native Ceramics. “Navigational roles from these shows are invaluable for small brands; they offer model rooms filled with furniture which can yield creative ideas.”
With exhibitions becoming pivotal gear within the design industry, it’s clear the dialogue surrounding local design might just strengthen regional identities—not heavily dictated by historical precedent, but instead broadening scopes of what identity can mean against the vast backdrop of globalization.