British designer Kelly Hoppen is a sort of Jacqueline-of-all-trades. Her expansive resume features personal collections in paint, fabrics, rugs, carpets, and ceramics; architectural design of apartments, houses, and yachts; and commercial projects including houses, offices, restaurants, and aircraft interiors. This last puts her in such enviable company as Sami Hayek (see Raven) whose work with Bentley re-interprets the typically pedestrian environs of an airplane’s insides.
Kelly Hoppen Collection. Designed by Kelly Hoppen for Waterfront Bathrooms.
The new stuff of the upper aero-crust features “a palette of creams and chocolately/walnuty browns; varnished hard woods with a sheen like diamonds; single malt scotches and steak tartare.” One surmises that Hayek and Hoppen might fruitfully collaborate. Perhaps they could start by outfitting one of Hayek’s Raven jets with Hoppen’s limited edition collection of basins, mixers, and bath wall sets for Waterfront Bathrooms. One in Waterfront’s series of designer bathroom concepts, Hoppen’s contribution embraces her contentions that there are too many “round lines” in bathroom products: “Kelly’s thoughts behind the range were to combine her love of symmetry and balance with a geometrical approach—this range moves away from the traditional rounded look and into a more angular, contemporary style of bathroom fittings.” “Waterfall,” for instance, is a wall-mounted bath set with thin, rectangular handles and a flat, transparent spout. “Mia” is a brassware mixer available in chrome, gold, black, and white (as well as wood, stone, and rainbow effects), whose j-curved spout is a convincing counterpoint to the hard, x-shaped angularity of the handles and stem. And KH2—a monobloc mixer with a swan neck—looks as if it were constructed from a handful of miniaturized platinum blocks.
KH2 Collection. Designed by Kelly Hoppen for Waterfront Bathrooms.
The range stands out for diversity in the midst of similarity: each product articulates a distinctive individuality yet the collection remains unified around Hoppen’s intention to combat the condemned curve, the odious ovoid. Not that everyone is of the same mind as Hoppen in this regard, but the work shines for conforming to the constraint. The upshot to the individual consumer (and the larger world of design) is an inspired product palette with an affinity for modern lines and contemporary schemes. And you can’t go wrong with that!