The god father

By JOSEPHINE MINUTILLO photographs by philippe bialobos

Philippe Starck insists he’s an outsider to the world of design.

But just as he thinks he is out, we keep pulling him back in.

Certain people have been so inextricably linked to their profession that their names are nearly synonymous with what they do. Any discussion of computer software would be incomplete without a mention of Bill Gates. And what can one say about basketball without bringing up Michael Jordan? Ditto soccer and Pelé, classical music and Mozart, ballet and Baryshnikov. For over three decades now, one name has defined design and become a household word. Philippe Starck = Design. His fame has gone beyond the inner circles of the design cognoscenti to make him a celebrity in the true sense of the word, landing him not only in the design rags but also the tabloids, especially in his native France. Yet Starck insists that he is

an outsider. He is ashamed of what he does. He hasn’t asked for any of this. Are we to believe him?

We sat down with the globe-trotting designer during a whirlwind visit he made to New York this spring to promote Gramercy, a new Manhattan condo building featuring his Yoo by Starck interior design. While much of what he had to say sounded awfully familiar (How could it not when so much has already been written about him?), the affable auteur opened up about everything from sex and God and guerrilla warfare to something he finds somewhat less interesting . . . design.

WHITEWALL: Over the years, so many designers have said they look to you as an influence, a role model, so to speak — designers as different as Konstantin Grcic and Marcel Wanders. You’re the man.

PHILIPPE STARCK: Oh, good. I love that — in English, you made my day.

WW: Do you find it interesting, though, that you’ve had such an impact on such a varied group? What does that make you feel?

PS: Nothing. You know, I’m sorry to repeat myself, but I’m really not interested in design. That’s why I’m not interested if people say something is good or bad. Thank you if it’s good, but if they say it’s bad it’s the same thing. I am not interested in design for the design, or the product for the product. I try to escape from materiality. I am only interested in the effect of what I produce. That’s why I am obliged to make so many things, because in order to have a global effect you must make a lot of things. A journalist can change society with one article, a politician with one vote, a singer with one song—because those are strong, direct vehicles of expression. Design is exactly the contrary. It’s sticky, heavy, slow, and mute. I am completely out of the design world. I can say that design chose me more than I chose design. I am ashamed to be a Christmas gift designer with fantastic success with a toothbrush and a toilet brush. I’m not a believer, but I’m afraid of the image when I shall die and arrive in front of God, and he says to me, “And you, you are very well known, but I’m sorry I don’t understand why you are so known. What have you made?” and I shall say, “a toothbrush.”

WW: I have that toothbrush in my bathroom, but I’ve never used it.

PS: It’s a good toothbrush. It works well.

order issue 7




										The god father By JOSEPHINE MINUTILLO photographs by philippe bialobos Philippe Starck insists he’s an outsider to the world of design. But just as he thinks he is out, we keep pulling him back in. Certain people have been so inextricably linked to their profession that their names are nearly synonymous with what they do. Any discussion of computer software would be incomplete without a mention of Bill Gates. And what can one say about basketball without bringing up Michael Jordan? Ditto soccer and Pelé, classical music and Mozart, ballet and Baryshnikov. For over three decades now, one name has defined design and become a household word. Philippe Starck = Design. His fame has gone beyond the inner circles of the design cognoscenti to make him a celebrity in the true sense of the word, landing him not only in the design rags but also the tabloids, especially in his native France. Yet Starck insists that he is an outsider. He is ashamed of what he does. He hasn’t asked for any of this. Are we to believe him? We sat down with the globe-trotting designer during a whirlwind visit he made to New York this spring to promote Gramercy, a new Manhattan condo building featuring his Yoo by Starck interior design. While much of what he had to say sounded awfully familiar (How could it not when so much has already been written about him?), the affable auteur opened up about everything from sex and God and guerrilla warfare to something he finds somewhat less interesting . . . design. WHITEWALL: Over the years, so many designers have said they look to you as an influence, a role model, so to speak — designers as different as Konstantin Grcic and Marcel Wanders. You’re the man. PHILIPPE STARCK: Oh, good. I love that — in English, you made my day. WW: Do you find it interesting, though, that you’ve had such an impact on such a varied group? What does that make you feel? PS: Nothing. You know, I’m sorry to repeat myself, but I’m really not interested in design. That’s why I’m not interested if people say something is good or bad. Thank you if it’s good, but if they say it’s bad it’s the same thing. I am not interested in design for the design, or the product for the product. I try to escape from materiality. I am only interested in the effect of what I produce. That’s why I am obliged to make so many things, because in order to have a global effect you must make a lot of things. A journalist can change society with one article, a politician with one vote, a singer with one song—because those are strong, direct vehicles of expression. Design is exactly the contrary. It’s sticky, heavy, slow, and mute. I am completely out of the design world. I can say that design chose me more than I chose design. I am ashamed to be a Christmas gift designer with fantastic success with a toothbrush and a toilet brush. I’m not a believer, but I’m afraid of the image when I shall die and arrive in front of God, and he says to me, “And you, you are very well known, but I’m sorry I don’t understand why you are so known. What have you made?” and I shall say, “a toothbrush.” WW: I have that toothbrush in my bathroom, but I’ve never used it. PS: It’s a good toothbrush. It works well. order issue 7
	Fall 2007