As last year ended, I began to contemplate what the New Year might hold, and I had the opportunity to focus on a design aesthetic that has been of interest to me, yet I did not know it’s name. Upon investigation I discovered it’s called Wabi-Sabi, a queer term yet so insightful and thought-provoking that it attracted me immediately. Among the extraordinary designers who I looked to for inspiration on the subject, Axel Vervoordt stands apart as the true devotee of the aesthetic. It is because of him that I have become a disciple.
This is not an influence to be trivialized or simplified as we Americans so often do. It is a quiet yet disciplined sensibility, which I feel strongly about in these changing times. At its core, the aesthetic seeks to become comfortable with, and to embrace, the things that we have often chosen to dismiss and dispose of in the past. It’s a distinct departure from typical modern design. The style summons us to work with existing pieces, or to consider recycled items for their historic merit. The core philosophy speaks to the belief in sustainability. Why not rescue a time-worn piece of furniture that still maintains its allure? History is an illusive spirit wishing to be revealed and expressed. When asked if an 18th century enfilade should have the marble top re-polished, Wabi-Sabi enthusiasts stand up and adamantly say no, the patina is part of its legacy.
I have found over the past few years that I gravitate to finishes that start out imperfect, not pristine, that may already have patina upon arrival. The sensibility is comforting and safe in my opinion. Not having to worry if someone were to put down a drinking glass and leave a ring! Damn it I maintain, patina is evidence of history in the making.
Wabi-Sabi is certainly more complex an influence that all of this, but it’s a primer to a conversation we should all have with ourselves and our clients from time to time. I will not attempt to define and clarify these two distinct terms, which when used together refer to a specific design aesthetic.
To have respect for the humble and imperfect is a wonderful release from the tension that we must avoid as we relate to our interiors. We should allow rooms to grow, fade, and age gracefully. The crafted items that show the intent of the artisan and the feel of his hand are important to this principle. Austere materials used to make serene yet splendid environments from everyday materials that maintain their character are key to Wabi-Sabi. This is not an aesthetic that you can literally purchase out of a crate. One has to understand that like when planting a garden, patience is key to seeing your labor of love mature and flourish; and also to wither in parts. It is all part of nature – to be revered as relevant.
I leave you with the challenge of rethinking how we live and how we specify on our projects. We are here to educate and to nurture our beliefs to our trusting clients.
I see it as our duty to grow and to change with the times aesthetically and spiritually. There is no better time than now to rethink our attraction to acquiring perfection when it becomes flawed immediately. We need to show more respect for our surroundings and ourselves.
Wabi-Sabi is not a new phenomenon in the design world, people have embraced it for years. If you’re interested in some first hand Japanese reflections on the subject, you’re sure to enjoy this link. What I suggest is you consider if your design hand might fit in this aesthetic glove. For your research a “must have” reference would be Belgian antiquarian and designer Axel Vervoordt’s book, “Wabi Inspirations” as he shares his latest sensibility for the home. It will prove to be an invaluable addition to any well-appointed design library.