One might fairly claim that all the work of designer Tokujin Yoshioka is a variation on a theme. And by that I don’t mean something tangible and (God forbid!) simplistic like a single material or shape, for Yoshioka’s palette seems to be that of universally established phenomena, whether biological, as in the intricate patterns of the deposition of crystals upon a polyester elastomer skeleton (Venus Natural Crystal Chair); or manufactured, as in the storied Japanese art of converting palm leaves into wicker (Kartell’s Ami Ami).

The Invisibles. Designed by Tokujin Yoshioka for Kartell.

Better said, each new Yoshioka product improves on the old adage–attributed to Michelangelo–of “releasing form imprisoned in a block of marble.” From this perspective, Yoshioka uses new technology to reveal what is already there–if only we had the eyes to see it. The irony of The Invisibles, the designer’s new series of ultra-thick yet ultra-transparent polycarbonate furnishing for Kartell, is that the revealment aspires towards concealment, since “the presence of the object is eradicated and it will create a scenery of a sitter floating in the air.”

And for those nitpickers who might claim that “ultra-transparent” is redundant, I offer a brief comparison: have a look at recent examples of this particular genre of furnishing (let’s call it “uniform polycarbonate transparent”), such as Viktor Harmen’s Clear Chair or JC/DC’s 25 Acrylic Chairs, each of which look positively present in comparison to Yoshioka’s new conjuration. True, neither Harmen nor Castelbajac were necessarily aiming for the essence of ineffability that is The Invisibles, yet I’m not sure they would have achieved it if they had been. And anyway, Yoshioka seems to have thought of it first, thus not only inventing a collection with a novel aesthetic appeal, but also creating a new concept for interior adornment.

Yoshioka has been known to ruminate on the celestial ramifications of his designs: “In the last few years I have been thinking about a design that would include natural phenomena and invisible elements such as senses, wind and light… [with The Invisibles] it is as if the physical presence of the object has been uprooted and gives life to a ‘floating’ scenario.”

One can imagine the effect of this spirited levitation on the proceedings at this year’s Milan Design Week, during which time The Invisibles will premier as a featured installation at Kartell’s Milan flagship store: ultra-quoiffed fashionistas and euro-hipsters will mingle amid Armani-clad corporate types with the occasional Levis-wearing American roughneck and perhaps a red-sweatered little dog? Each seeming to float within, or behind, or above, or beneath Yoshioka’s new collection of tables, occasional tables, sofas, armchairs, and benches. It all promises to be rather Fellini-esque… well, it is Italy, after all!

Via MocoLoco.