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Learn moreAt the end of June, the All-Russian Museum of Decorative Arts announced the opening of applications for the III All-Russian Object Design Competition-Biennale "Designed and Made in Russia." This event draws attention to pressing issues in contemporary design. Participants will face important ethical choices, making the competition particularly relevant in a rapidly changing world. Routine design work requires not only creativity but also an awareness of responsibility for the objects created. The competition provides a unique opportunity to showcase talent and views on sustainable development and ethics in design.
The "Designed and Made in Russia" project was launched in 2018 under the leadership of Elena Titova, Director of the Museum, and Natalia Loginova, Director of the Fashion and Design Center, with the active participation of curator Svetlana Lipkina. Currently, it is the only national-level design award that brings together projects from across the country. The competition provides a unique opportunity to assess the state of the design industry in Russia, focusing on serial and small-run pieces. The competition features interior items, tableware, accessories, and home textiles created for people, not for government commissions. Participation in this award helps identify current trends and support the Russian design community, contributing to its development and popularization nationally and internationally.
By the mid-2010s, there was a pressing need to support projects by Russian designers, introduce new names, and promote design as an important field of activity. By organizing the competition, the museum not only elevated its profile but also attracted a young and professional audience, becoming an active participant in cultural life and the initiator of numerous events. The winning works remain in the museum collection, forming a unique collection of contemporary design, thereby contributing to the development and popularization of Russian design thought.
The museum offers nominees the opportunity to participate in the general exhibition, and laureates have the right to hold solo exhibitions for two years. Thus, the "Designed and Made in Russia" biennial becomes not only a competition but also an important part of the creative community at the Fashion and Design Center. This event promotes the development and maintenance of cultural ties and opens new horizons for artists and designers, allowing them to share their art with a wider audience.
The organizers of fairs, awards, and competitions recognize that the third edition is a key moment for the project. The first steps are often accompanied by great enthusiasm: the industry has a need for such events, a need that is recognized by the initiators. Participants are willing to take risks, and energy builds naturally. If the debut is successful, the second event runs on inertia. However, it is the third time that presents the greatest danger. This session demonstrates the viability of the project and its future prospects. A successful third event can strengthen its reputation and attract new participants, while failure can jeopardize the project's future.
For three years, I participated in the selection of applications: in 2018, I was a jury member in the first competition, in 2020, I was a member of the expert council, and in 2022 I will again serve as a jury member (I have yet to evaluate this year's projects). In this article, I will talk about the winning projects of the two previous competitions, highlighting their significance and achievements.
2018 Projects
The first competition was memorable for its unexpected diversity of applications and sharp fluctuations in the level of the projects presented. The winner was the "45° Shelf" by Petr Safiullin from Kazan. This shelving unit, just 45 cm deep, features a narrow and functional design that draws attention with its originality. Also among the winners were the Aotta acoustic panels, created by Muscovites Tatyana and Mikhail Repina. These panels are made from an environmentally friendly material based on spruce needles, highlighting their local and ecological approach.
The most attractive projects were those that drew inspiration from the historical avant-garde, the harsh beauty of Russian nature and traditional motifs or techniques. In particular, the winner in the small forms category was the project "Invisible Avant-Garde"—a transparent acrylic glass organizer designed by St. Petersburg designers Alexander Braulov and Anastasia Kopteva. This remarkable object combines poetry and functionality, varying the shapes of structural elements and window openings from twelve famous avant-garde buildings in nine cities. Although visually unrecognizable, these elements add depth and symbolism to the organizer's simple form. The authors were also awarded the Grand Prix in the New Craft category for their Red Dolls toy set, which pays homage to popular Suprematism, making the reference obvious.
An example of interaction with the avant-garde The "Tractor Driver" shawl, created by Moscow designer Olga Nikich, is a cultural icon. She draws inspiration from Ivanovo propaganda chintz and Soviet posters of the 1930s. This shawl not only reflects historical motifs but also brings a fresh perspective to traditional elements, combining them with contemporary design trends. Ekaterina Krotenko's "From Fire" vases from St. Petersburg are a striking example of a contemporary approach to the theme of nature. The "Forest, Water, Stone" textile collection, created by Svetlana Katargina and Tatyana Babkova, showcases updated traditions. This project seamlessly combines elements of luxurious homespun fabric and patterns inspired by traditional Karelian embroidery, the "Pudozh Canon." Each piece reflects the harmony between natural motifs and modern design solutions, creating a unique atmosphere and emphasizing the importance of preserving cultural heritage. The "Tuesa" storage container set, crafted from birch bark by Anastasia Koshcheeva from Krasnoyarsk, has a natural and handcrafted appearance. Krasnoyarsk, a significant hub for creative industries and contemporary art in Siberia, is proud of such talented designers. The jury also highly appreciated the brutal collection of wooden boards Kag’anka by designer Vitaly Zhuikov (Made in August), emphasizing a unique approach to materials and forms.
Projects of 2020
The second competition reached significant heights thanks to media The resonance of the first competition and the high caliber of the jury, comprised of recognized experts in the fields of museum studies and design, were among the judges. The panel included Konstantin Boym, head of the Industrial Design Department at Pratt School in New York; Mateo Kris, director of the Vitra Design Museum; and Jukka Savolainen, director of the Design Museum in Helsinki. The jury also included design curators from the Rijksmuseum in Amsterdam and the Victoria and Albert Museum in London. The participation of such renowned specialists enhanced the competition's prestige and drew attention to contemporary design trends.
The strong jury panel undoubtedly contributed to the competition's development and strengthening its status. The participation of experienced industry professionals with broad perspectives ensured careful consideration of interesting Russian works and provided the competition with independent expertise. Ultimately, the jury's final choice was unexpected, which contributed to lively discussions and exchanges of opinions.
The Grand Prix was awarded to the "Intertwining Stone Threads" lamps created by Danil Karamushkin and Anna Ivanova. These pieces stand out for their technological originality and industrial design, while conveying a wabi-sabi atmosphere that highlights the beauty of imperfection and chance that characterizes handcraft.
Art
A felt rug with ceramic thread in the shape of a leopard skin, created by Andrey Budko and called "Hear my roooooar," has become the unofficial symbol of the competition. This object attracted the attention of the press, which eagerly published images of it and also used it in announcements and posters. The rug's high popularity emphasizes its uniqueness and originality, making it the central element of the exhibition.
The jury singled out the laconic "Bell" table by Marina Shamsutdinova and the "True and Fable" linen tablecloth with tambour embroidery created by Svetlana Katargina and Tatyana Babkova. The eco-friendly "Cosmic Coral" table by Yaroslava Galayko was recognized as the winner in the "Ethical Design" category. These works emphasize the importance of harmony between aesthetics and ecology in contemporary design.
In the nomination "Collectible Design. Furniture" the winner Egor Bondarenko stands out with his unique wooden wardrobe "Modernist". The designer proposed an interesting solution - to recognize not only the winner, but also the artisans who contributed to the creation of this item at the post-competition museum exhibition. This approach emphasizes the importance of teamwork in design and promotes a deeper understanding of the processes behind the creation of art and interior design.
In 2020, the number of interesting applications for the competition was lower than in its first year. Nevertheless, Moscow gallery owners played a key role in raising the level and diversity of the projects submitted. Their active participation contributed to the development of higher-quality and more original ideas, making the competition more attractive to participants and viewers.
In recent years, beginning in the second half of the 2010s, the Russian market has seen a growing interest in designer functional interior items, such as tables, armchairs, chairs, and lamps, produced in limited editions. The Heritage International Gallery is an example of successful advancement in this direction. Initially focused on Soviet design from the 1920s to 1960s, its collection later expanded to include works by contemporary Russian designers, as well as unexpected offerings from Chinese masters. The gallery has recently launched the Manner & Matter digital platform, where you can find not only collectible but also mass-produced interior items. This initiative promotes designer-inspired design and expands opportunities for buyers seeking unique solutions for their interiors.
Alina Pinsky Gallery, formerly known as Palisander, experienced rapid growth from 2017 to 2020, attracting the attention of collectors and art connoisseurs. The gallery began its work in Moscow with an exhibition of French paintings from the 1950s and 1960s and offered a unique selection of functional objects by renowned French modernists such as Charlotte Perriand, Pierre Jeanneret, and Jean Prouvé. Gradually, the gallery expanded its offerings by adding works by masters of Italian radical design. The collection currently includes functional objects by prominent American, Danish, Italian, French, and Finnish designers of the 20th century, such as Charles and Ray Eames, and Martin Bédan. In 2018, Alina Pinsky Gallery launched the Russian Collectible project, dedicated to Russian collectible design, featuring works by Daria Belyakova, Olga Treivas, Vadim Kibardin (his "paper" chair, Paper Chair No. 5, aka Black Star, won a special prize at the Union of Designers of Russia competition), Denis Milovanov, Vera Odyn, and other talented designers. The gallery continues to make a significant contribution to the development of contemporary design and art in Russia, offering unique and sought-after works.
Both galleries showcased the work of contemporary Russian artists at the second "Designed and Made in Russia" competition. This competition has become a platform for showcasing creative projects and innovative ideas reflecting the uniqueness and diversity of Russian art.
Mirra Gallery, known in Moscow for its impressive collection of historical Italian design from the mid-20th century, also focuses on young Russian designers. As part of the "Designed and Made in Russia" initiative, the "Collectible Design. Concept" category was launched. This category aims to support and develop new ideas in design, thereby promoting Russian talent on the international stage. Mirra Gallery continues to strengthen the links between history and modernity, opening new horizons for creative design solutions. Mirra supported the solo exhibition of Victoria Nurislamova, the winner of her category. The designer developed a universal modular font that became the basis for many of her projects, including graphic posters and 3D-printed vases. All of these works were presented at the exhibition at the Fashion and Design Center thanks to the support of Mirra Gallery. In addition, the Slip service was donated by the gallery to the museum collection, which emphasizes the significance and uniqueness of Victoria Nurislamova's work.
This year, the process of collecting applications has already begun, and the expert council is actively selecting projects to form shortlists. The competition promises to be challenging, as good design requires social optimism, unlike contemporary art, which can emerge in the most unexpected circumstances. Without this optimism, new products lose their meaning. Why propose original ideas and inventive solutions if people lack the desire and strength to look to the future? In this context, all designers participating in the competition become true heroes, dedicated to their craft and striving to inspire society to new achievements.
Applications for the competition are open until August 25th. Don't miss the opportunity to submit your work and be part of this unique event. Make sure your application meets all the requirements and submit it on time.
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