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As Tiffany Meyers observes in her overview of the 100 winners, one can’t peg 2009 as the year of any specific color or typographic convention. But the winning projects are reflective of today’s increasingly diverse design discipline. In fact, one has to wonder if there is any longer such a thing as a design discipline—in light of today’s fast-changing and even amorphous practice, the word discipline seems a little out of place.
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Field Guide to Emerging Design Talent 2006 (cont'd) |
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TOP: This mixed-media tribute to singer Kate Bush was art directed by French design firm M/M (Paris) for ID MAGAZINE (U.K.); (MIDDLE) LEFT: Sandrine Pelletier created FINGERBOY for a group exhibition called “UNPAINTED,” for the VILLA
GRISEBACH gallery in Berlin, in December 2004; CENTER: MADAME PARIS, 2005. Pelletier designed this catalog with Alexandra Ruiz for the SWISS FEDERAL OFFICE
OF CULTURE; RIGHT: WILD BOYS, 2002.
To illustrate a report on a tribe of young English teens, followers of backyard wrestling, Pelletier used a range of media including limited-edition books, catalogs, furniture, and illustrations.
Sandrine Pelletier feels privileged that her hobbies have turned
into a job. While she once considered becoming a puppet maker
and master, she eventually brought her love for 3D objects to the
“more reasonable” world of design. Pelletier studied visual merchandising
in Vevey, Switzerland, and then graphic design at Ecole
Cantonale D’Art de Lausanne (ECAL). In fact, it was while studying
in Lausanne that she met the two colleagues with whom she
collaborates today.
Pelletier, now based in Paris, splits her time between two distinct
enterprises. Maskara is an art-driven venture in which Pelletier
works with photographer Erwan Frotin. Madame Paris is
a partnership with designer Alexandra Ruiz focusing on commissions
of a more corporate complexion. Currently, her projects
include drawing patterns and illustrations for a French stylist and
creating a corporate identity for a Swiss client.
No matter what kind of project she’s working on, Pelletier’s
creative output is always provocative. Recently, she did an installation
for Japanese fashion designer Tsumori Chisato’s Paris store.
It featured 60 sculpted, flying cats—all dressed up like models and
arriving on a carpeted landing strip. “For me, puppets are one of
the ancestors of 3D computer software,” Pelletier says. “They can
be funny, ridiculous, or frightening.” Her influences stem from
childhood, including Jim Henson’s Muppets and The Dark Crystal.
François Rappo, head of the Visual Communication Department
at ECAL, describes Pelletier’s work as intuitive and precise. “She knows, as a designer, that she can use different visual
languages,” he says. “But she knows most of all that each of these
skilled codes needs, in one way or another, to be turned into language.”
In the future, he believes Pelletier will continue to push
her talents for art direction and styling.
Michelle Taute
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