seven rituals promising a state of composed monotony. seven tools encouraging to decelerate, delay & disconnect. seven sets daring to de-stimulate, then detach before diverting into ultimate emptiness. exquisite materials. essential shapes. masterfully crafted. a conversation, honouring the emotional state of boredom.
compose / discompose an archaic game / a predestined composition arrange - derange - rearrange – repeat & surrender to the predictable configuration and composed state of boredom
de-stimulate / isolate static absorption of silence / vacated palate assent - subdue - fade out - dissipate & disengage the saturated mind from surrounding overflow
Breaking table taboos
Continuing in the line of new dining experiences, this collection of sensual eating tools crafted from high-end porcelain in Limoges explores new ways to eat. Taking inspiration in the tasting of an Oyster, the delicate and thin porcelain shapes invite us to indulge and luxuriate at the dining table. The shell-like tools are made to break table taboos in an elegant way: lick, slurp and pick them up to increase the taste experience and immerge yourself in the moment. The collection consists of 6 porcelain shapes, richly textured on the bottom and organically soft on the top.
Available in unglazed mat white or glazed glossy white.
This solid bronze dish is an interior embellishment. The organic shape is sculpted by hand, richly textured on the outside and polished on the inside. Inspired by the feminine and evocative shapes of oyster shells, this home accessory will add a touch of sensual and elegant luxury to any table, vanity or desk.
Sculpted by hand by Sarah-Linda Forrer in Amsterdam, the pieces are casted and finished in a small metal casting atelier in the province of Friesland in the Netherlands.
OYSTER is available in limited edition in four different patina's: black, gold, white and turquoise.
The limited editions silk scarves were born out of a desire to combine beauty, luxury and sustainability in one product. A desire to create the perfect accessory for the modern, picky and conscious human.
The first limited editions of 3 designs were inspired by the beauty and colours of underwater flora and was designed in collaboration with Stella Derkzen.
PRE-ORDER This limited edition luxurious silk scarves will be produced once the minimum amount of orders has been made. Pre-order now and receive your scarf within 8 weeks.
ECOFRIENDLY Because luxury, beauty and respect for the planet are equality important to me, this collection of silk scarves is produced with the first textile company in the world to have endorsed the Greenpeace Detox Program. This ensures a dramatic reduction in the use of water, toxic substances and energy throughout the entire production process. Signing up to the agreements contained in the Detox Solution Commitment, the company is the first textile company in the world to make a public commitment for a cleaner fashion industry through the replacement of machinery and the elimination of harmful substances used in the normal textile processes.
This collection of sensual eating objects creates a stage for food to be presented on and savoured from. With soft shapes crafted in ceramics, they are a tactile trigger for our senses. Not being cutlery nor plates, these tools evoke in us a more intuitive way of eating, transforming the act into a moment of full attention. The organic shapes invite us to use the tools in our own, singular way. They become an extension of our hands and fingers, literally bringing us closer to what we eat. Contrasting with the conventional way of eating with fork, knife and plate, this family of shapes and sizes can be used in various ways to present and enjoy our food.
By stimulating the movement of picking up and bringing the objects to our mouth, I want to give more importance to the moment just before tasting. Eating in a different way and with more attention will ensure a slower ritual with more pleasure.
Taboos like slurping and licking at the table can be broken. The shapes of these eating tools ask for it to be picked up, shared, licked and slurped. This will enhance the tasting experience and the connection to our food.
Inspired by the evocative duality of shells, the soft organic shapes are modelled by hand to find the most natural feel for your hands. While the upper side is smooth, the downside is covered with a precise texture to ensure a beautiful contrast and a better grip. Together with a small ceramic manufacturer in the Netherlands, moulds are made in which the black porcelain is casted. The objects are then produced in small series with great care. A lot of handwork and attention is required for the detailed finishing and delicate shapes. The top comes in 2 different glazes while the bottom is left unglazed, giving a mat and rougher surface.
The porcelain is fired at high temperatures, ensuring the material becomes resistant to heat and moisture as well as dishwasher safe.
Made for an edition of the Steinbeisser dinners in Lloyd Hotel Amsterdam
This collection of eating tools is crafted from alabaster and speck stone. They are carved following the natural structure of the stone, making every spoon unique. The weight and materiality of the stone give each spoon a precious feeling. The delicate and sensual shapes with a very soft touch evoke a more intuitive way of eating. Not having conventional cutlery shapes, every user can discover his own way of interpreting them at the dinner table.
Collaboration between photographer Daantje Bons and designer Sarah-Linda Forrer. In parallel to the collection of eating tools Evoke initiated by Sarah-Linda Forrer, they created a series of photographies evoking an intuitive and sensual interaction with our food. Playing with the idea of #foodporn, the images are on the edge between different kinds of pleasure, triggering the senses and arousing the imagination.
Models: Cherella Gessel, Nicolaas van Zeijl and Stella Derkzen
Flowers are beautiful. For as long as we can remember they have been a source of inspiration, the origin of decoration, a manifestation of luxury, adornment, love and victory. Floral arrangement for decorative, religious and symbolic purposes date back to the Ancient Egyptians. What is it that makes them beautiful to us? Is it the bright colour combinations, the surprising shapes and compositions, the textures, the strong contrasts?
Beauty extraction is a dissection of the flower’s beauty. The different elements of the flower are extracted and deconstructed. Shape, texture, color and composition are analysed and translated into a series of textiles. Each of the fabrics is a search for the origin of the flower’s beauty and the source of it’s decorative strength.
Often seen as undesirable weeds, many local wild growing plants have medicinal and healing properties. Those uses were known and applied centuries ago but nowadays, common drugs and cosmetic products have replaced those plants, and we have mostly forgotten about their useful properties.
Weed Beautification is a research about the possibilities that three selected local weeds (Yarrow, Comfrey and Plantain) offer in the fields of skincare and beautification. Sarah-Linda Forrer re-explored the healing and regenerating properties of these plants by creating salves, oils and scrubs, extracting the healing and beautifying powers to apply it onto the skin.
To ennoble these weeds and the proces of creating skin healing substances, she has designed a ritualistic collection of vessels and tools out of stone and bronze, to prepare the herbs for use in luxurious, pure and natural skin care products.
The ancient Egyptians regarded beauty as a sign of holiness, they were pioneers of embellishment. For both men and women, beauty and body care were an integral part of their everyday lives. Fascinated by this idea that cosmetics are not only used for aesthetics but also have a magical and ritual purpose, I designed a collection of facial skin care tools inspired by ancient Egyptian beliefs and habits.
These objects combine excavated findings with artefacted materials to become new minerals and soft fossils.
Haptic textures and morphing shapes form the tools to create mixtures and masks, to apply them on the face and to clean the skin.
Naturally patterned hard wood found in an Alpine river is combined with transparent bubbles of deep blue rubber to become cleansing tools. Alabaster stone is shaped into a delicate, translucent spoon to mix oils and powders. Lava stone seems to morph into a soft, sponge-like texture while highly polished brass receptacles form the core of the collection.
Trophies of imagination, Morphologies connects beauty and spirituality by bringing another dimension into our everyday skin care rituals.
Photography / Matthijs Mentink
Models / Stella, Kim and Victor
Click hereto take a look at the material research for this project, and here to see my work process.
Photography credits / Lisa Klappe
Part of my Graduation work at Design Academy Eindhoven, linked to the project Morphologies
A material research for the project Morphologies,about artefacted fossils and other mutating minerals. The images are material tales, an inspiration and a trigger for the imagination.
MAGNIFICENT FIBROSITY / wool felt revisited
Graduation work Design Academy Eindhoven
Wool felt is a fascinating material with exceptional qualities, but not getting the attention it deserves. As its possibilities are not fully explored, I wanted to find out what other potentials this fabric is hiding.
Apparently, most of the shepherds throw their shaving wool away, as selling it is not profitable.
Finding it a waste of valuable material, I started a research, looking for ways to ennoble felt made out of this low quality wool.
This project aims to emphasize the sensitivity and softness of a mechanically made felt, magnifying the fibrous composition and the imperfections it contains.
Working together with a small wool felt producer in the Italian Alps,I interfered with the felt making machines, to give the fabric more character and come to unexpected color and texture results. Manipulating it later with other techniques and combining it with different materials such as resin, the felt becomes something new, ungraspable at first sight. The fibers are magnified, colored, pressed or loosened up, they become transparent or darker. Processed into shape and color compositions, the soft, opaque wool alternately becomes as hard and translucent as frosted glass, creating intriguing contrasts.
Magnificent Fibrosity is a series of hanging panels meant for spaces such as hotel lobbies, office building receptions, airport waiting areas and big hallways or staircases. They divide the space and bring in a tangible, warm and soft atmosphere by filtering the light and blocking or reflecting visibility and sound.
PROCESS AND RESEARCH
Part of my Graduation work at Design Academy Eindhoven, linked to the project Morphologies
This is a documentation of my work process for Morphologies.
Assignment / Internship / Studiopepe for Spotti-Valcucine
Studiopepe was asked to curate an exhibition for the showroom of Valcucine in Milan. I designed the set-up and graphics and curated this exhibition entitled Raw/Tech.
RAW/TECH features a selection of products united by the desire of going rough and natural, combining raw materials with modern techniques, or reinventing old crafts using new materials and knowledge.
Prime materials like stone, wood, wheat, fruit and vegetables or natural wax form the basis of the products while the rain, the sand or the drying process influence and shape the designs, giving them a strong and raw character.
Assignment / Design Academy Eindhoven
Teacher / Shirley Muijers
A tangible collection of patterns for women underwear, inpired by the beauty of perishment.
Perished was born experimenting with textile dying and silkscreening.