Antibes Collection Key to the group’s visual distinction is the diamond shaped, nailhead motif.
The name conjures visions of jet-setting socialites lazing upon chaises longues on the French Riviera.
But it was actually the more prosaic idea of a “soft corner,” a more biomorphic shape than is usually seen in cabinets and casegoods, that inspired Jonathan Adler’s 10-piece Antibes Collection.
Likening the design to a musical score, Adler, who first attracted fame with his hand-made ceramics in 1993, and has since expanded into home furnishings sold worldwide among other ventures, says, “… you need a melody, which in this case is the organic form, and then you need the harmony,” or contrasting elements. The pieces, all of which can easily be imagined in a range of stylistic environments, are fashioned of rubberwood in a honeyed oak finish, sanded and oiled to reveal its natural beauty, blackened steel for bases and legs, and neutral-toned linen.
Key to the group’s visual distinction is the diamond-shaped, nailhead motif featured on all the pieces excepting the mirror and cocktail table. Adding a hint of both the ancient tribal and contemporary naivete, it’s the perfect counterpoint to the soft shapes and warm wood tones, “strong and simple,” as Adler says.
Beyond good looks and excellent craftsmanship, the self-proclaimed “tortured designer” demands that his work function perfectly. I think when something is well designed it doesn’t look ‘designed,’” he says. “It just looks like it’s supposed to be that way.” Antibes is symbolic of his high standards.
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