Heimtextil Blog

From his Amsterdam base, designer and Phygital Studio is transforming the Maximum Glam trend from concept to reality by designing and 3D printing new textile forms. Working at the intersection of the physical and digital, de Nennie uses real-life objects as the “building blocks” for new digital forms, combining the mediums to make “phygital” 3D printed creations.

“The big difference in what I’m doing in my work is that I never start drawing in the computer. It’s the same with this project. Everything comes from the real world. The starting point is always something 3D scanned, a picture or real textiles. That way, you get a completely different shape language to what you see a lot with digital 3D designers. Which in my opinion, a lot of them look so similar that you can’t tell which designer or studio made it.”

This unique process is visible in the videos de Nennie has created for Heimtextil to showcase Maximum Glam ahead of the event. “With the moving images, they are videos of textiles that really are the textiles, and that doesn’t happen that often. Most of the time they are made on the computer, as they try to copy reality and they do it well. But I don’t try to copy reality, I try to use reality. So, if the camera doesn’t have the perfect resolution or if the 3D scan is not perfect, I use that imperfection, I accept it and use it as a signature instead of trying to copy reality.”

“Back in the day of newspapers and magazines you can make a collage, or you can do it in Photoshop,” he continues. “I actually do both, but with 3D files, combined with video and photos, so everything comes together now in one thing. All the work I have done for Heimtextil, all those worlds are cutting and pasting with real textiles from 3D scanning, assembling. All these techniques become one big Phygital – and that’s what the name of my studio is.”

The multi-layered approach that de Nennie takes in creating his work occurs in parallel to the layers present in the theme. “In Maximum Glam there are some sub-themes, and for every sub-theme, I’ve made worlds of materials together,” explains de Nennie. “It’s very textural, futuristic, almost circus. Fluffy hairs, iridescence, all combined, and woven, and a bit like cultural textiles. I really like this imperfection.”

So how does de Nennie see this trend coming to life in an interior context?

“I would compare it to what you see on the catwalk. Most people wouldn’t wear it, but for the details. For consumers interpreting Maximum Glam this can mean furry textures or edgy, strong details of interior products, or maybe even wallpapers. Of course, it shouldn’t be a whole wall, but I can imagine plinths in your room, or your couch could have some Maximum Glam, such as little legs. As an image on a fair, like Heimtextil, you can go further. For consumers, I think Maximum Glam is about starting small, and will influence really small parts of interiors.”

Nina Jung

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