a new creative designer

Christian Metzner  is a German product designer. In 2009 he received a special mention at Light & Building awards in Frankfurt. He participated in different shows and exhibition since 2007 and this year he was one of the German designers at “Design Triennale” in  Beijing, China.


The lamp IKARUS is made of wax and an internal stainless steel structure suspended from a steel cable. A light-bulb inside the lamp causes the wax to melt so that over time the lampshade will reform itself on the surface below. IKARUS is based on the idea of visualizing electricity, but it criticises the consumer society with its dependence on short-lived products as well. The user decides when the process of decay begins by turning the lamp inside IKARUS on. They may also decide the rate of decay by choosing the wattage of the lamp. The user is therefore active in the process, while we as designers have created the concept and given them the means to control the process.

IM bracelet

Arts and Crafts meets surface.

A minimal white bracelet with a floral secret. Manja Iwanow paints the flora and fauna inside a white porcelain ring. Her hand-painting and different choice of plant for each bracelet makes each one completely unique. After painting the bracelet is then fired at 750°C. It is up to the wearer’s discretion if they wish to share the secret of IM with the world, or keep the floral motif to themselves. The visible craftsmanship and hand-painted interior of the limited edition of different styles add a much higher value to this piece of  jewellery. In a time of decreasing demand for craftsmanship this collection shows how traditional art and craft may be used in a contemporary setting. The collection and collaboration with the porcelain painter (apprenticeship KPM Berlin) also pays tribute to the designer’s home-state of Berlin-Brandenburg.

(Each pattern has a limited edition)


A pure white bracelet that brings strength to the traditionally fragile medium of ceramics. The object is futuristic in its simplicity while still conjouring thoughts of ancient Roman jewelry, albeit with a healthy dose of German minimalism. The wearer of BJM feels like a modern warrior, the ceramic bracelet giving them strength for battle in the urban environment.


The glass jug GLANZ&GLORIA was initially made for a British teatime with milk and sugar, but it could be used for any substance. The jug has three spouts, which are evenly placed allowing the user to pour without turning the jug to face them. The design with three spouts is conceptual and formal and should be functional and aesthetically pleasing as well. The prototypes are hand blown and made of borosilicate glass, which making them heat-proof and robust. The look of a chemical utensil is desired and provides a nice contrast in the context of culinary use.


A scarf made of 100% Sanfor-cotton with many cording seams on both sides giving the structure a dynamic rigidity. The exactness of the pattern means the seams give the scarf its vertical rigidity whilst maintaining its horizontal flexibility. The result is a sculpture for the human neck that impresses with its three-dimensional quality and intricate cut. The scarf is the final product following several different designs focusing on the same concept. This concept involves a collaboration between traditional tailoring and modern design. The traditional tailoring must meet the exact design specifications for each seam to create a truly modern accessory.


„[...]They have to sell bags, bags, bags, bags, bags, bags. I hate handbags.“ Carine Roitfeld, 2005, Telegraph UK

The bag is made to be held in the hand, not carried on the shoulder. The edged-shape dominates the bag which is not only eye-catching, but serves to stabilise the bag with its fine darts. The bag appears heavy and the contents have to struggle against the rigid shape, however the choice of synthetic fabric makes the bag ultra-light. The handles add a contrasting element which is enhanced by the thinner black straps on top of the thicker handles. These thin straps and the lining are always black, a constant element of the bag’s design, no matter what the external colour of the bag. The first bags were produced by a small company in Berlin-Kreuzberg that employs immigrants in a bid to help them integrate into society. Many of these employees are not tailors by trade and therefore have to learn on the job. Hence the cut of the bag had to be simple and easy to produce. The design was refined further, developing the details, fabric and cut further. The designer also worked with the managing tailors to develop a production kit that could be used to brief all new employees of the company.

Images courtesy by Christian Metzner

Take a look!!

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