One of Fogia’s most hands-on creators, Carina Seth Andersson lets her senses guide her design process. Here she talks us though the journey she took with Fogia in designing her Ceramics range.
What was your brief from Fogia and how did you interpret it?
Fogia originally wanted me to make glass vases but I felt that it would be more challenging to use another material and to take a different direction. They gave me a mood board, which I started with but I found it important to go through the range and get a better idea of the ‘new Fogia’. My goal has been to create a product that has its own value and justification but also fits into the larger context of Fogia’s existing collection. I didn’t want to just create a few items to go on a table. I want them to bear a bigger ambition, be something more monumental. I think this fits Fogia, that these items are just as important and legitimate in form as the company’s furniture is. This thinking resulted in a small collection, or family, of ceramic objects. Some wider bowls that have a nice roughness, a larger pot to stand on the floor or window — maybe even live out on a balcony. And also a piece with a lower profile that can be used as an umbrella stand or hold accessories.
Tell us about the production.
I wanted thick, weighty materials, which complicated things a little. Nobody in Sweden wanted to take on this sort of production — the craft industry is virtually extinct. But Hanna Nilsson, Fogia’s product developer was determined to help see my vision materialise and she found a producer in Italy who could give us what we wanted. They understood exactly what I wanted, even though we were uncertain it might be lost in translation at first. It’s important for me that the craft is there from beginning to the end of a process. That every stage from sketch to finished product holds traces of the hands that made it.