Designers in this category pay the greatest attention to preserving the traditions, craft and materials specifically attached to their land. The call of nature and the territory they live on dictate their choice of materials, technology and philosophy. For Ukrainians, such materials as wood, clay, leather, stone, wool, natural fabrics (linen, hemp) are natural choices, embedded in their own consciousness.
This category comprises designers, who claim their “green choice” and strong dedication to naturalness. Their design is ecological, and also ethical, as it strives to combine traditional materials and national heritage. They wish to emphasize ukrainianness by using the decorative symbolism of objects (or not), but in any case then want us to hear the “voice” of Ukrainian land.
One of its features is the use of elements of handmade craft, for example, in the traditional processing of materials used.
This category comprises designers, who stand on a firm position. They are determined, straight forward, rather self-assertive persons. They have acquired such a form of self-consciousness, that they can indulge their penchant for self-irony and adopt a philosophical position of their own.
Their language is symbolism, and they prioritize the meaning of objects over their material specifications.
They build code-items. Their main argument is that their objects carry messages, information contained in a concentrated form. Their objects can “speak” with their own forms, colors or symbols.
The white field is really diverse and colorful, giving birth to a full “rainbow” spectrum of products. All designers in this category are on a development path, in search of their own way. They can easily transform themselves and flexibly accommodate internal and external requests.
They are pragmatic, may have a philosophy (but not necessarily), and feel free to choose whichever tools, themes, forms, materials they fancy. Designers of the white field are particularly productive.
The white field produces objects that belong to various categories and have no firm direction in the established world of design.
All substantive innovations emerge in this sector thanks to curiosity being the main quality of “white” designers.
Between our three categories are “transit” territories. In the same time, the designer/studio can find itself between only two categories: green and white, green and black, black and white. It is impossible to share all three characteristics at once, otherwise, it shall be classified as a white category.
•«Black-Green»: Sergey Makhno, Svoya Studio
•«Back-White»: Pavel Vetrov, Katerina Sokolova, Eugene Litvinenko