Designer ProfileThe Meringue GirlsHallucinatingConfectionsThey seem to float on water or sail away on of waiting customers at patisseries around FORM FOLLOWS FOODa plate: meringues speak to the imagination the world. Presented online, the meringuesand delight the masses. A time-honoured can be ordered for private use or parties and 47nutrient disguised as a dessert, these beaten come in manifold marbles of funky fluids andclouds of egg whites, sugar and vinegar have creative colours, all derived from natural juices HALLUCINATING CONFECTIONSbeen around for many years, indulging and fruits. The Girls sample flavours frommultiple generations with a sweet tooth. their childhood memories and keep track ofFirst invented in the 17th century, meringues trends in liquor, taste and hue. The designerswere already considered a delicacy at the create colour palettes packaged in signaturetime. Born in the Swiss city of Meiringen wooden boxes, transforming the meringue(which is said to have given the sweet its into the it-item of the moment and relegat-name), the puffs have recently been rekin- ing the famous macaron to the 20th century.dled as a major food trend. In London,for example, the famous Israeli chef Yotam Their design process begins with a briefOttolenghi marbles his whites with blood and collaborating with the client on thered ingredients, and in that same city, the concept to be used. Bespoke hues are devel-designers Stacey O’Gorman and Alex Hoffler oped in dialogue with the brand identity orhave been marbling away so much that matched to the colours of the collection. Thethey call themselves the Meringue Girls. Girls push the limits of sweet treat catering through taste and aesthetics, specificallyInternet entrepreneurs as well as party goers, finding ways to create designs with naturalthe two met while working at the same ingredients and veering away from tradi-restaurant and dreamed about creating tional artificial colourings. Inspired by naturetheir own brand of meringues. They shared – namely rainbows, blue skies and flowersa passion for all things sweet and decided – the marbled ranges also incorporate edibleto start a meringue collection, which they flowers and dried fruits. The marbling is donesold at a weekend market. Instead of using through several techniques: for the kisses,the same old artificial ingredients, they the inside of the piping bag is painted withdecided to transform the puffs by adding food colouring and then filled with meringueunusual flavours and custom colours such so that the colour coats the outside of theas green tea, black pepper and even gin kisses while they pipe. The designers have– attracting a dedicated following. Work- also experimented with marble dipping, anding from their tiny kitchen at home, they when making brownies, they marble peanutsecured famous clients in a wide range of butter into the batter before it’s baked.industries, from fashion to music to filmand beyond, catering their creative events Today they work from a larger industrialand press launches. Since those days, the kitchen where they conduct research, writefood designers have worked prolifically and recipe books and animate cooking mastergained international exposure. classes. These classes are convivial and hands- on, with a lot of giggling and experimenta-The Meringue Girls decided to focus on the tion, all washed down with a glass of bubbly.whipped foam they call “kisses”. Selling only One can see that their sweet meringuesone kind of confection reflects a current are serious contenders to become the nexttrend for mono-products that draws queues cupcake.
48 There are seasonal events, so at times like Christmas and Halloween we will design our treats with the season in mind. We like to think creatively with seasons and try to avoid the clichés, for example, last Christmas, rather than going green and red, we did a glitter collection using edible shimmer. The Meringue Girls
FORM FOLLOWS FOOD 49 HALLUCINATING CONFECTIONS< Statuario Maximus™5031 (background) iscomplementary toSleek Concrete™ 4003(left foreground), whilethe classical veins ofWhite Attica™ 5143 andStatuario Nuvo™ 5111(platter) are as delicate asegg whites (right)a baked meringue is slightlyrusted like the oxidisedeffects in Excava™ 4046(background) – featuringSleek Concrete™ 4003
DarkRitualsThe most recent trends in cooking return In parallel, our meals become blackto the beginning, like the authenticity where food meets design in a mutualfound in foraged foods, in hunted and attraction. Thus wild Asian rice is brown-gathered ingredients. With these primal black and macaroni become grey-rituals, coupled with the return of black when tinted with squid ink, whilefasting, reduced or eliminated portions blue-black couscous imitates caviar.of meat, and a general downscaling of Such blackened shades are reflected bywhat is on our plate, there seems to be charred, smoked and sooty tactilities.a sober lifestyle direction emerging for Indeed, these roasted, fired and dryingthe future, almost essentialist in spirit. treatments cast a dark shadow over all ingredients and introduce an intriguing50 The darker side of living brings unfamiliar new chapter in the design, preparationtextures to the fore, in a sensual attempt and presentation of food – and howto embrace fetish foods, evoking the we colour the architectural materialsprimitive on our table like miniature around them.landscapes, celebrating cooking’s inge-nuity; a tribute to the dawn of humanculture. In awe of our origins, we wish toreimagine ancient recipes, often foundin anthropology, living proof of howhumans cooked when prehistoric societywas wandering and nomadic.Within this movement, the aesthetic ofblack is newly revealed and rediscovered,impacting interior design directions.Formerly a white and antiseptic environ-ment, in a dramatic move, kitchens areshifting to black quartz, black cast iron,black clay pots and scorched black in-gredients. Dark materials such as stone,slate, porcelain, oxidised metal andlacquered wood are combined. Thechoice of using black seems surprisingbut proves logical and connected – asstylish as the black bowls and plateson which the foods are presented!Therefore – like in the dark bathroomsthat have also embraced this colourreversal – we have seen each elementin the kitchen grow darker to enticetrend-conscious consumers that want tobring contemporary style to the table.
FORM FOLLOWS FOOD 51CHAPTERRaven™ 4120 with shardsof Piatra Grey™ 5003
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FORM FOLLOWS FOOD 53 CHAPTER< art objects by MargaKirbis atop Piatra Grey™5003art objects by YoungRan Lee (courtesy JouwStore) – featuringVanilla Noir™ 5100
54 couscous with algae caviar and black chickpeas – evocative combinations matched by the drama of Vanilla Noir™ 5100
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FORM FOLLOWS FOOD 56 CHAPTER
58 a black Linzer torte, filled with vegetable carbon paste and a marmalade of black krim tomato and bramble – design object by Othmar Prenner > art object by Mitch Iburg (courtesy Jouw Store) alongside chocolate blocks by La Flor, stacked atop Vanilla Noir™ 5100
FORM FOLLOWS FOOD 59 DARK RITUALS
60 blackened walnuts with clove powder are sensual, alongside an art object by Marga Kirbis and Piatra Grey™ 5003 > (top left) a crisp baked kale leaf punctuates a vase with grace, atop the striking look of Vanilla Noir™ 5100 > (bottom left) chocolate blocks by La Flor stacked atop Vanilla Noir™ 5100 > (bottom right) art object by Mitch Iburg (courtesy Jouw Store)
FORM FOLLOWS FOOD 61 DARK RITUALS
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FORM FOLLOWS FOOD 63 CHAPTER< ground by a mortarand pestle, a salt ritualoffers an array of grainsand tastes: raw salt,flavoured salt andsmoked salt – accentedby the shadow ofRaven™ 4120 and apiece of Piatra Grey™5003blackened walnuts withclove powderserved atop an art objectby Marga Kirbis andthe smokiness ofPiatra Grey™ 5003
64 > blackbread made from vegetable carbon, shown on Raven™ 4120
FORM FOLLOWS FOOD 65DARK RITUALSThe darker side of living brings unfamiliar andprimal textures to the fore, in a sensual attemptto embrace fetish foods, evoking the primitiveon our table like miniature landscapes.
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FORM FOLLOWS FOOD 67 CHAPTER< planking is an ancienttechnique that hasbeen revived, infusinga woody flavour intovegetables such asbroccoli and dried plums,garnished with blacktruffle – featuringRaven™ 4120Vanilla Noir™ 5100presents a whole grilledpineapple, sliced opento reveal its innercaramelised flavour
68 Volumes (2017) are designed to playfully reduce our over- consumption of hearty carbohydrates – served on a platter of Raw Concrete™ 4004, complementary to Sleek Concrete™ 4003 (background)
Designer ProfileMarije VogelzangEating DesignDesigners who work with the subject of Under her engaging and provocative FORM FOLLOWS FOODfood are often called “food designers”. tutelage, a whole new generation ofAccording to Marije Vogelzang, food designers working with food are being 69is already perfectly designed by nature. forged. Often photographed with aInstead, her concepts focus around chicken on her head, Marije is depicted EATING DESIGNthe verb “to eat”. She uses food as an literally and emotionally connected to theephemeral material, a recollection, terroir and wholesome authentic values.and even a vehicle for social change.Her projects often dissect the essence From 2004 to 2011, she established twoof food and give it back to people in a restaurants under the name of Proef,new way, creating a novel experience. first in Rotterdam and later in Amster-Among her prolific international inter- dam; an entrepreneurial opportunityventions, she has taught children to to really begin observing how peopleembrace vegetables by colour-coding interact with food. More recently, Marijethem and making them desirable, given founded The Dutch Institute of Food &mourners a feast of naturally white Design (TDIFD), issuing a call to designersingredients to help them come to terms to dive into the world of behaviouralwith grief, and physically brought com- sciences.munities together by staging communaldinners that shroud people with the Marije’s eating proposals push thetablecloth itself. The latter was an early confines of sociology and anthropology.commission by Droog, the Netherlands’ Her 2017 project, Volumes, was commis-most influential contemporary design sioned by the Museum für Kunst undcollective and movement. The rest is Gewerbe in Hamburg. Based on findingseating design history. by the food psychologist Brian Wansink at Cornell, this playful project investi-In recent decades, food design was but gates placing small objects in the middlea burgeoning idea; a concept hovering of the dinner plate in order to trick thesomewhere between creative catering brain into registering visual capacities –and the experimental transformation and eat less. The objects’ peculiar organicof cuisine by the likes of Ferran Adrià. shapes and colourings are almost jarring;Over the past fifteen years, Marije has designed to provoke us to pay morestretched this notion far beyond its attention to the presentation of ourboundaries, redefining our awareness of meals. Food for thought and mindfulfood as a material but also tracing its im- consumption at a time when the planetpact on the senses, nature, culture, society, struggles to adapt to an increasinglytechnique, psychology and science. expanding population – some 10 billion by 2050 – and seemingly unable toAs the Design Academy Eindhoven’s nourish the masses.most established eating design gradu-ate, it was only natural that the famousinstitution asked her to head their aptlynamed Food Non Food department.
70 Sleek Concrete™ 4003 and Raw Concrete™ 4004 (platter) are a backdrop for Marije’s organic creations
FORM FOLLOWS FOOD 71EATING DESIGNThis playful project investigates placing small objects in the middleof the dinner plate in order to trick the brain into registering visualcapacities – and eat less. The objects’ peculiar organic shapes and colouringsare almost jarring; designed to provoke us to pay more attention tothe presentation of our meals.
GlossaryBake To cook by dry heat without direct Pulp To crush into a soft, shapeless mass,exposure to a flame, typically in an oven i.e., to mash, purée, cream, crush, press,or on a hot surface. New baked materi- liquefy, squash, pound, macerate, grindals include porcelain, concrete and clay. or mince. Pulps often formulate materialsSometimes baked materials inflate like such as recycled papers or sustainablea sponge. resins compressed with by-products like sawdust.Brûlée From the French term for“burned”. Crème brûlée was known Smoking The process of flavouring,in English by various names from the browning, cooking or preserving food early 18th century, including the now by exposing it to smoke from burningused translation of burnt cream. These or a smouldering material, most oftenscorched effects are often mimicked in wood. These smoky qualities are referencestarnished metals. for staining and dyeing new materials.Char A method of grilling in which food Soppressata A chunky dry salami72 is placed directly over a fuel source, such which, like the Italian term suggests,as charcoal or wood, so that the surface is compressed. The process is not unlikeburns or chars slightly. This tarnishing creating terrazzo, by which aggregatesprocess also creates metallic and oxidised such as quartz or glass form decorativepatinas on industrial materials. patterns within the composite.Froth A gelling or stabilising agent Veining A pattern of lines, streaksin which air is suspended, such as in or veins, often described in foods suchwhipped cream, meringues and mousses. as cheese, meat, patisserie and fruit.Foams are particularly trendy today as a Veining is also referred to in design,new way of presenting sauces or creams, such as in “the marble’s characteristicalso simulating frothy textures in fabrics surface veining”.and hard materials alike. Whip To use a utensil such as a whiskMarbling The action or process of making or an eggbeater for beating cream, eggan item like marble, especially in coloura- whites or other food. Often used fortion or markings that resemble or suggest desserts beaten into a light fluffy mass.marble veining. Marbled surfaces, papers, Many contemporary surfaces are inspiredtextiles, foods, ceramics and woods (faux by the cloudy foamy textures of whipping.bois) are all making a comeback in design.Paste A food paste is a semi-liquidcolloidal suspension, emulsion, or aggre-gation used in food preparation or eatendirectly as a spread. Pastes inspire mate-rials that are smeared or splattered, likein industrial processes such as concretepouring or plastering.
Nougat™ Statuario Nuvo™ Statuario Maximus™ White Attica™6600 5111 5031 5143p.19,26,27 p.34,40,42,43,48 p.29,32,33,34,39,45,46,48 p.29,30,31,32,35-38,48Frozen Terra™ Cloudburst Concrete™ Airy Concrete™ Raw Concrete™ 734601 4011 4044 4004p.3 p.29,41 p.4 p.19,20,68,70,71Topus Concrete™ Moorland Fog™ Excava™ Sleek Concrete™4023 4046 4003p.24,26,27,44 6046 p.10,16,17,18,19,20,21,49 p.19,24,26,46,48,49,68,70,71 p.3Rugged Concrete™ Piatra Grey™ Raven™ Vanilla Noir™4033 5003 4120 5100p.7,8,9,11-14,15,18,20,23 p.51,52,60,61,62,63,65 p.51,62,64,65,66 p.53,54,55-58,59,61,67
Colophon FORM FOLLOWS FOOD PUBLISHER a material forecast Caesarstone Ltd. by Lidewij Edelkoort www.caesarstone.com CONCEPT, TEXT & ART DIRECTION AUTHORS Lidewij Edelkoort Edelkoort Etc., Paris PHOTOGRAPHY & CREATIVE DIRECTION Copyright©2018 Caesarstone Ltd. Juliette Chrétien & Daniel Costa All rights reserved. FOOD STYLING No part of this publication may be Léa de Travy reproduced, stored in a computerized database or made public in any PROP SCULPTOR form or by any means, whether Rémy Kaneko electronic, mechanical, photo-copying, recording or otherwise, without the74 DESIGN OBJECTS prior written permission of the publisher Jouw Store, Marga Kirbis, and authors. Vive Ma Maison & When Objects Work COVER EDITING a circular platter by Vincent Van Duysen Philip Fimmano embodies a similar patina found on a round Rocamadour – object courtesy CO-ORDINATION & PRODUCTION When Objects Work – featuring Airy Keren Arazi & Philip Fimmano Concrete™ 4044 (above) and Rugged Concrete™ 4033 (foreground), both GRAPHIC DESIGN from Caesarstone’s new Metropolitan Saiid & Smale, Amsterdam Collection. PRINTING A.R Print SPECIAL THANKS Eli Feiglin, Hila Vitla, Reut Palmer & the entire Caesarstone team; Simone Farresin, Andrea Trimarchi, Daniele Misso; Stacey O’Gorman, Alex Hoffler & Sylvia Pearson; Marije Vogelzang; Fred Causse, Vanessa Causse, Thierry Guillemot, Martin Kullik, Beatrice de Lafontaine, Vincent Paillez, Omar Saiid, Willem Schenk, Janneke Smale & Chloé Sos
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