This Is Not a Cushion: An Interview with WIENER TIMES

Talk to us about your philosophy of 'contemporary bolstering'.

For us, there is far more to a cushion than just decoration – it's a carrier of stories and a field for discourse between the poles of design, art, craftsmanship and interior design. Precisely because a cushion (as an object) is often regarded as secondary or even superfluous, we are interested in this 'skewed' position opening up spaces for critical reflection on supposedly banal things and their cultural significance.

What are your backgrounds and how did you both meet?

Susanne studied tapestry at the Royal College of Art in London, while Johannes studied painting and new media at the Academy of Fine Arts in Vienna. We met through mutual friends during a residency in Paris – in the midst of an inspiring environment that laid the foundation for our later collaboration.

Where did the idea to start WIENER TIMES come from?

Even before WIENER TIMES was founded we worked together on various artistic projects with artistic groups like Gelatin and fabrics – and textile narratives led us to develop the first ideas for WIENER TIMES almost 10 years ago. Through experimentations and research across various archives and libraries, it became clear to us that over the years a relationship between Viennese Heritage and the work that we do was emerging, from digging deep into the vast empires of ornamentation and turning to the gilded spirit of the last century for inspiration.

Where do your fabrics typically come from?

Over the years we have developed close partnerships with renowned textile manufacturers, including Kvadrat, Rubelli, Dedar, Designs of the Time, Pierre Frey, Morris & Co/Sanderson and Liberty London. Our collaboration with traditional Austrian company Backhausen, whose fabrics are deeply rooted in Viennese design history, was of particular importance to us. The opulent, colourful designs of Austrian artist Dagobert Peche or the rigid, geometric designs by architect and designer Josef Hoffmann open up new perspectives and narratives when juxtaposed with fabric designs by the aforementioned manufacturers; and they are good examples of the special character of our work.

The sad news that Backhausen was closing operations in the spring of 2023 led us to gather our resources to stock up on whatever we could of these precious textiles – a hugely important slice of Viennese heritage that would soon cease to be in production. We do, however, regularly work on smaller runs using vintage fabrics or leftover stock when working on one-off commissions.

What inspires you when it comes to your applications of colour and pattern?

Our work is like storytelling with fabric. By combining, juxtaposing and patchworking patterns and textures, we create new narrative spaces. It can be very stimulating to see a geometric Hoffmann design from the Wiener Werkstätte next to a floral William Morris pattern from the Arts and Crafts movement, or to combine a luxurious Pierre Frey tapestry with a simple gingham check. The juxtaposition of fabrics is a central part of our creative process.

You describe your pieces as "actively questioning and pushing the lines between abstraction and function". What do you find so alluring about this tension?

We have a very precise design approach – our cushions should not be just any old rectangular sofa cushion. They should be functional, yet comfortable and inviting. This tension between formal design and utility opens up space for individual reception: for some, a WIENER TIMES cushion is a charming object in the living room, for others a faithful companion, almost a roommate with character.

Why do textiles remain your primary medium of choice?

Textiles are incredibly versatile – they can be sensual, playful, austere or opulent. They are accessible, often close to the body, tactile – and, yes, sexy. Their materiality and design are rich and complex, which makes them a fascinating medium and communication tool for us.

How have your pieces and collections evolved since your first in 2017?

When we started WIENER TIMES, our Giant Hand pillows in various variations quickly became a kind of signature piece, and they still are. Over the years we have ventured into more figurative shapes and playfully expanded our repertoire.

Once a year we develop a new collection, which we present in showrooms during fashion weeks in Paris or Tokyo. We still produce exclusively to-order in our studio in Vienna – by hand, piece by piece. This principle has not changed to this day: sustainability, transparency and manageable production conditions are still very important to us. We believe that this is what makes our pieces so special. Even if certain designs are produced several times, each piece is still unique, which is something our customers really appreciate.

Unexpected, charming details often feature in your pieces, such as fringing in multiple materials, elaborate tassels, floppy 'petals' of fabric or even handles. Where does the interest in this level of detailing come from?

It is precisely because such details are often considered kitschy or 'too much' that we are interested in them. They break with convention and bring a certain lightness, even humour, into play. We see them as tongue-in-cheek quotes – a loving gesture towards the decorative, which may be frowned upon in certain circles, but which we love for that very reason.

Your pieces also feature familiar forms such as faces, flowers, hands but rendered less familiar and much more interesting by exaggerated proportions or unexpected textures and details. What draws you to return to playing with these forms?

We want to create alternatives – high quality, thoughtful alternatives to the overabundance of uniform, interchangeable cushions. At a time when resources are scarce, there is no need for yet another round or rectangular cushion. We are interested in playing with familiar shapes that appear unexpectedly 'new' because of their proportions, materials or context.

Are there other designers (contemporary or otherwise) who inspire your work?

We're particularly fascinated by the female artists of the Wiener Werkstätte such as: Mathilde Flögl, Maria Likarz and Felice Rix-Ueno. Their humorous and confident designs broke with the often male-dominated norms of their time.

We are also inspired by pioneering women such as Anni Albers, Sonia Delaunay and Sophie Taeuber-Arp – all of whom worked with great clarity and visionary courage.

What do you hope people take away from interacting with your designs?

Joy – and if you buy a piece from WIENER TIMES, it might just become a long-lasting and faithful companion for your own home.

Your brand photography is always so fun and eye-catching. Where do the ideas come from?

The concept and art direction for our campaigns are created in close collaboration with our long-time friend and photographer Maria Ziegelböck. Together we develop creative concepts that express our vision in a natural way. We also rely on familiarity and authenticity when choosing our models: most of them come from our personal environment – the art and culture scene to which we feel connected. For us, they are not classic models, but testimonials – real personalities who bring our pieces to life.

Outside of your bolsters, blankets and apparel, you've dabbled in 'ceramic books'-cum-serving plates-cum-paperweights and a little furniture. What's next for WIENER TIMES?

We would say that the core of our design work still lies in the design process for textile objects. Our involvement with furniture, however, comes almost naturally from textile design, as textile elements can often be found on, under and around furniture. We are particularly interested in stools and chairs – pieces of furniture whose minimalism often calls for a certain textile supplement. We often create these in collaboration with designer friends, which is always an enriching experience for us.

The 'ceramic books', on the other hand, are a joint project with David Jourdan, the artist and publisher of Westphalie Verlag. These objects are rather irritating in their simplicity, almost a silent provocation in a private space, like when used as a trivet for an espresso machine, for example. It is this kind of irritation that fascinates us and in a way reflects our way of working: the joy of the unexpected and the reinterpretation of the everyday.

Although we might reinterpret one or two everyday objects or pieces of furniture in the future, textiles will always remain at the heart of our creative work. This is where we feel safe, where we feel at home and where our greatest passion and expertise lie.