David Alhadeff is a celebrated figure in the world of design. The Seattle born native, who now lives in Los Angeles, championed the work of contemporary American design at a time when that nation was fascinated by mid-century masters and all things Europe. Almost a decade ago, The New York Times wrote: “The self-described outsider was soon the fulcrum of a witty, rustic brand of industrial-tinged modernism now known worldwide simply as ‘Brooklyn’.”
The Future Perfect, the design gallery he founded about 20 years ago, represents work from all over the world. “The brand started with a strong leaning towards American design, but over the years, we’ve expanded our purview to encompass international design,” says Alhadeff. “Our upcoming events include the first solo show by Adam D. Miller of highly graphic and colourful clay pots, furniture and sculptural objects by Netherlands-based studio artist Floris Wubben, and a group exhibition curated by Gallery Director Laura Young, which explores the reality of being a plus sized person in the design world, where furniture is not made for larger bodies.”
During a brief stop-over in New Delhi last month, while en route to attend Qatar’s design biennale, Design Doha, where he was a judge, Alhadeff spoke to the Magazine about the significance of contemporary design and why it ought to be taken as seriously as the visual arts.
