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Dima Loginoff: One to Watch

At 33, the former hairdresser is considered a promising young talent in the interior design community.

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The Happy Chaise Longue.

Photo By Courtesy Photo

Appeared In
Special Issue
WWD Milan Design Week issue 04/12/10

Perhaps going from hairdresser to interior designer doesn’t seem like the most likely career path, but for Moscow native Dima Loginoff, the two disciplines have “more in common” than one might think.

At 33, Loginoff is considered a promising young talent in the interior design community. After spending 13 years as a hairstylist, Loginoff decided to pursue interior design, graduating from Moscow’s International Design School in 2008 and, subsequently, from the Rhodec School of Interior Design in London. He then retuned to Moscow, where he lives and works.

Among his more notable pieces are the Happy Chaise Longue, an outdoor lounge chair that repeatedly reproduces the pattern of a smile, and the Trunk, a glass, chrome and metal suspension LED lamp in the shape of an elephant’s snout.

Loginoff shows at Salone Satellite, Fiera Milano-Rho, from Wednesday to April 19. He e-chatted with WWD about design and his journey from hair to Corian.


WWD: Describe your evolution from hairstylist to interior designer. Was it a natural step?
Dima Loginoff:
I was about eight years old when I came across some international interior design magazines, and that’s when I fell in love with design. In the Soviet Union at the beginning of the Nineties, there wasn’t much interest in that area, so there weren’t too many places in Russia where you could learn how to be a designer. That’s why I decided to become a hairstylist. After many years, I understood that my experience as a hairstylist and my interest in design and art in general helped me approach what I am doing now in a deeper way. Hairstyling, fashion design, multimedia, architecture and interior design have much more in common than one would think.
      Designers and hairdressers both work in a three dimensional environment — the difference is that hairdressers actually work in 3-D, whereas designers may do so in more of a virtual sense (by using computers, for example). But both initially come up with their ideas and design concepts in their heads.

WWD: How would you describe your style?
D.L.: Ironic. After the first impression, I hope people perceive a deeper, subtle irony. For example, the irony lies in taking the absolute traditional form of a lamp and making it unconventional, while remaining within the limits of its original shape. This was the case with the Cage Lamp — I used the traditional form, but hid the light source so that the viewer wonders for a moment where the light is coming from.

WWD:
What are your favorite sources for inspiration, period and artist?
D.L.: I’m very sensitive to trends. I believe that any designer, when dealing with contemporary design and art, shouldn’t initially be guided by his habits, but should be inclined to find new interests, subjects and love for styles, images, forms, color combinations, etc. I’m also very interested in historic styles, and this is pretty evident in some of my pieces.
      It may not be new, but I just bought a wonderful book about Viktor & Rolf in London that is truly inspirational. It is about more than just fashion — it’s about the art of fashion! As for historical styles, I like many of them — Art Deco, Renaissance and Baroque, to name a few. But I guess at the moment, I am in love with rococo, one of the most iconic styles.

WWD: Do new technologies and medias influence you?
D.L.:
Anything can influence my ideas — everything that surrounds us, even deformity. New technologies and materials expand the range of design, allowing us to make previously impossible things possible. You can make unbelievably long bar tables from Corian, [put] projection systems inside furniture (like Ron Arad’s “poof ”), or [use] concrete that reveals drawings on its surface when wet.

WWD:
What will you show at Salone, and what are your future projects?
D.L.:
Studio Italia Design started producing several lamps I designed and we will be showing those in Milan. All these pieces have already received international awards. I believe that this collection will have an interesting future. It’s hard to say what’s next — hopefully new offers from manufacturers.

WWD: What do you expect from Milan Design Week?
D.L.: This is a new experience for me. I really hope that people will enjoy my lights and concepts. Elle Decor Russia nominated me for Young Designer of the Year at the Elle Decoration International Design Awards. The ceremony will take place in Milan during design week.

WWD:
Do you think the industry gives enough space to young designers?
D.L.: It’s difficult to discuss this, coming from Russia. Young designers face difficulties everywhere, especially when there is no industry to support them. This is why there are so few designers that are truly appreciated here. But I am positive that whether you are new or experienced, if you have a fresh vision, you will find your place on the international stage.
      The competition forces some companies to understand that good design can bring the product to a higher level in the market. While it doesn’t happen very often, designers are brought into Russian companies for this purpose and it gives hope to [young designers] that one day they might be in demand. To be honest, it isn’t important where the designer is. The important thing is that what they make can be sold in Moscow, London, New York, everywhere.

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