matali crasset works, Rizzoli & Norma

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matali crasset works, Rizzoli & Norma


Rizzoli Publications is releasing the first referenced monograph on the work of the industrial designer matali crasset with an extensive critical apparatus - an essay entitled “Matali Crasset Beyond”, a set of reviews from the design theoretician, Alexandra Midal, a preface by the ethnologist Emmanuelle Lallement and an introduction by the curator Zoe Ryan.

The book covers the life of this exceptional designer from 1991 to today, forging beyond the clichés highlighted by Emmanuelle Lallement in her preface.

“Do Matali Crasset’s design playfull return experience to its central place in our relationship with the world ? They are functionnal wher usage comes foremost ; when they are colorful, theirs colors form a true grammar. When they are simply designs within our lives and for our lives, they are contempo- rary.” EL 

Alexandra Midal repositions matali crasset within design history from a feminine perspective, and explores the way her work challenges existing categories and design frontiers.

“In her work, Matali Crasset extracts herself from the dilemma of design’s conditioning to a history of men, written by men, and relegating women to minor, decorative works. If the territory of women’s design was long associated with an enclosed, self-cantered space where the decorative reigned, then Matali Crasset escapes the patriarchal model yet again ; she takes constant and infinite psychophysical dynamics into account as she initiates new project.” AM

The project was inspired by Zoe Ryan, design curator at the Chicago Art Institute and avidly supported by Alexandra Midal, who, accompanied by Francis Fichot, both the life and work partner of matali crasset, associated with Andreas Hoyer, created a unique and one-of-a-kind book for both reflection and pleasure. 

The preface by Emmanuelle Lallement on the shiny yellow cover sets the tone.

The objetc

The preface by Emmanuelle Lallement on the shiny yellow cover sets the tone.
When opened, we find a book with direct entries in colour revealing projects, a bit like a piled-book effect.

Each chapter heading opens with a diagram or drawing by matali crasset illustrating the “fields” which she has in her head combining ideas, references and analogies.

Each project is accompanied by a descriptive notice. 320 pages including over 700 colour copies.

About the contributors

Alexandra Midal is a design theoretician, curator of independent exhibitions and founder of the Design Project Room in Geneva. Since 2011 she manages the Masters program at the Head – Geneva. She’s the author of several books about design: “Antidesign, petite histoire de la capsule” Epithème Publications, “Design, introduction à l'histoire d'une discipline” Press Pocket Publications, etc. and some films: “Hocus Pocus: Design in My Mind” and “Politique-Fiction”.

Emmanuelle Lallement is an ethnologist, senior lecturer at the CELSA, Paris-Sorbonne University.
One aspect of her research covers cities (urbanism, shops, holidays, public policies, design) and the other aspect covers communications, merchants and non-merchants, different forms of sociability, trading areas and consumerism. She’s the author of “La ville marchande. Enquête à Barbès” and research articles on the urban and commercial world.

Zoe Ryan is a design curator at the Chicago Art Institute.

Andreas Hoyer and his partner Andy Scherperel founded the shop Heimat in Cologne as well as the shop Mode Depesche. He also works as an independent consultant or curator in the field of art, fashion and design. 

Referenced monograph organized in 8 chronological chapters with 8 diagrams by matali crasset as well as a section presenting transversal projects and a chapter solely consecrated to archives.
Essay and 48 reviews by Alexandra Midal
Preface by Emmanuelle Lallement


Introduction by Zoe Ryan
Book’s artistic director: Andreas Hoyer.
format 31 x 23 cm, 320 pages, over 700 colour copies US $75.00 / Can $87.00 / UK £47.50
Rizzoli Publications, New York
ISBN: 978-0-8478-3582-9
April, 2012 




  • Simon Bouisson