How would you rate the experience of working on the same project with two different firms (Rosenthal and POMD’OR), which are also from two different countries (Germany and Spain), with you being from the Netherlands?
EVV: It is always exciting and inspiring to start up new collaborations. It also means all parties need to listen to one another very carefully to try to get on the same wavelength. In this case, I think, we succeeded and combined the strengths of each of the parties to achieve a great result. Porcelain is a very noble material for us and we love working with it. We are happy that POMD'OR initiated to work with Rosenthal for this particular project, as they are in our opinion one of the best in the world.
You have worked on many interior design projects for luxury hotels. Do you believe the POMD'OR collection can also be adapted to this type of project or, on the contrary, is it more oriented towards the private design lover?
EVV: The main reason we developed the collection is for luxury hotel projects, even before launching it a lot of architects already show interest.
Many of the items in the collection are made of porcelain. What difficulties are involved in working with this material?
EVV: We are used to work with porcelain for years, so for us it is not really difficult. We know the possibilities, but what we love about it is that you can really work in high detail.
By using porcelain, do you feel that this retrieves the concept of an old-style bathroom?
EVV: No, I do not think in those terms. Don’t change things that have proven to be right, but add new value. I strive to combine the good things from the past with innovative use of materials and techniques in order to create ‘future classics’. The atmosphere of the past and the quality of the present.
You say that your philosophy is based on nine design keys: patterns, layers, nature, cultures, tradition, materials, colours, treasures and light. How do you incorporate these concepts in your creations?
EVV: All these nine design keys are recognizable for my signature. Also, in this case, you see all the nine keys incorporated in the collection, they are all quite in balance.
Patrizia Moroso uses these words to describe you: "Edward has the eyes of a photographer, the sensibility of a musician and the power of an architect". Do you agree?
EVV: Totally, it is the best compliment I ever got and even more special coming from a person like Patrizia, one of the leading figures in the design industry.
Going back to the characteristics of your designs, hasn’t anyone ever told you that your work might bear a certain connection to the brilliant Barcelona architect, Antonio Gaudi, noted for being the leading figure of the modernist movement, with a large presence of geometric and floral shapes in his creations? Or do you see yourself closer to other designers or artistic influences?
EVV: In use of material I can imagine the comparison, but in shape and the use of pattern he is far more organic than I am. Also, my decorations always have a function and are related to one of the nine keys. When I use patterns it is to create layers, depth and connection to architecture and global cultures.
You have designed everything from sofas and armchairs, lamps, poufs and side tables to wallpaper patterns for leading firms such as Baccarat, Moroso, L’Oreal, Moooi, Bisazza, or Swarovski. What would you like to design that you have not done yet?
EVV: A luxury sailing yacht with the inspiration of the past and the comfort of the future.
How does a designer like yourself keep from running out of imagination for creating new objects, new concepts? What is the trick for coming up with new ideas?
EVV: I believe it is staying interested in whatever you do, whatever you see and experience. Be open-minded.