The phenomenon of Russian design exists. No one can deny the fact that there are studios, which made a loud statement with their design projects, with their participation in international contests. Their names are becoming more and more recognizable not only for professionals but for the mainstream audience. The experience of the heroes that are actively working in the sphere of industrial design is priceless, that’s why their detailed description of how such people as Russian designers came to be and their account of their life are very interesting. Today’s hero is Vadim Kibardin. He was born in Omsk, finished a rare at the time (1996) specialty “Industrial Design” of the Ural State Art and Architecture Academy. Ten years have passed since then and today Vadim has his own studio. Participation and triumph in various prestigious contests (Promosedia, Dauphin Design Competition, Charmant Design Competition, D.I.A) and exhibitions (iSaloni Worldwide Moscow 2005, 2006). Not only does he design, he also produces objects under the KibardinDesign trademark. As an admitted professional, he is invited to share his experience and lead work-shops with students in different Russian higher education institutions. Despite his relatively young age (32 years old), Vadim definitely has something to say. Let’s find out more about the “plain russian designer’s” everyday life.

Why did you decide to study industrial design?
I was born with the decision. For as long as I remember, I have always been making something, inventing new objects, drew a lot, watched nature, collected various interesting things and materials, this is exactly what I do now. Of course, I didn’t even dream about being famous and designing objects for well-known companies. I went to an art club just because I liked it. When in high school I made up my mind to enter the Industrial design department, I studied academical drawing for two years. By the way, this didn’t stop me from finishing school with a silver medal. That was fortune’s way of leading me to the right path.

Did your vision of the aims and challenges of a designer change since you became an independent designer?
I started working independently shortly after getting into the academy. I hardly had any idea of what designers do. I designed corporate identities, advertisements, sometimes furniture, light fixtures and interiors. But I always felt that design is the power capable of making the world cleaner and better. The understanding of the process and the ability to control this power came to me a bit later with the knowledge and experience that I got in the academy and in Germany on practical training. Of course, you have to constantly work a lot, search, polish and handle findings and ideas, but my own ideas and aims in design are drawn clearly. I think that a designer is a person who rules the world. It is in power to build a bright positive future or make it an intolerable process of survival.

What unexpected difficulties did you face while making your own studio? And why did you choose Prague as a permanent residence and work habitancy?
The studio in Prague is not my first experience of starting my own business, so here, in Czech Republic, I didn’t encounter any unexpected difficulties, maybe just the “lost in translation” problem, not only because of the Czech-English-Russian-German language differences but also because of the nations’ mentality distinctions. It’s not always easy to find common ground even with Slovenians. But it is very interesting to explore a different world, to understand by what rules it exists, what is valued in it and what is left without attention. I chose Prague for establishing a studio was assignable. I had been observing the Czech Republic for a long time, spent my holidays here and always felt that I was home. No other cities of the world could give me the same “subjectively my” feeling of coziness, peace and clearness of thought. In the midst of this relaxation, I always felt a fit of creative energy and came up with new ideas and projects ever so often. This became the main reason of my coming here. To great joy, since my very first visit to Prague nothing has changed in this context. I still work a lot and manage to master a lot of new information. I think that my best projects were produced in Prague (I really hope that I have plenty ahead). Apart from this, Prague gives the opportunity to produce individual objects and not only project them. Now I started up mass-production of a soft toys collection, breloques and furniture which is successfully selling in Europe and Russia. And the fact that Prague is in the center of Europe has a two great advantages: it makes the delivery of my products to European countries quite cheap and I myself have the opportunity to quickly travel to Moscow, Milan or London.

In one of your interviews you said that the best designers are from Japan. What is so different about their works?
Why do you think the Japanese school stands out so much? I firmly believe that the best designers are the Japanese ones. The phenomenon of Japanese design consists of several aspects, for example, their education. In elementary school Japanese children begin profound studies of the subjects that will become the base of their profession. That way a textile specialist can distinguish 50 shades of black and something like a 100 of linen cloth types. And that – at about 7 years of age! Plus, of course, there is the enormous cultural heritage, the ability to understand and feel nature, the skill to quickly master and improve someone else’s experience and ideas. And the most important of all is the clarity of thought. Together with the delicate emotional component and the unique esthetics, the neatness and simplicity of solutions make the objects, for example those of Naoto Fukasawa, unrivaled.

You said that you wish of working with Moroso and Pluminuszero. Why do are you attracted by these companies?
Yes, I would really enjoy working with these companies. I like Moroso for its fresh and bright ideas, innovative approach and the opportunity to experiment and even misbehave. And Plusminuszero is one of the best producers of Japanese design. And I would like to find myself in this unfamiliar but very interesting Asian theme.

What do you gain from communicating with the well-known international designers and what, when communicating with the fellow country designers?
Communication is at all times very useful. It is the experience of understanding different people’s perception, as the designer is working for people, he creates thematic environment for them. The communication with experienced colleagues is even more useful. Owing to it you get concentrated food for thought, which otherwise you would probably get in many years of work alone, especially when it comes to occidental stars. Our design is young and developing, we don’t have much experience but our passion and energy compensates. Communication with fellow country designers is always very nice because you feel relevant to something great, to a whole movement. Tell us about your simple things theory and about the practicability of material use theory. I won’t say anything yet as right now as I’m working on a book. There will be much to show and to talk about as soon as I finish it and that will happen in near future as the materials are collected, I only need to embody it on paper.

What projects are you working on at the moment?
Right now I’m working on a collection of metal dishware for a British company; also I’m taking on a project of a large Russian construction holding company (home decoration materials) and the most interesting – designing props for a Russian science-fiction movie which will come out in 2009. It will be a complete set of future electronics and many other things. I won’t reveal much now, but I hope that when the movie is released, people will appreciate not only the live action but my designs as well. At the same time I’m designing a new collection of soft toys under my trademark KibardinDesign.

How often do you teach?
I sometimes get invited to lecture or lead work-shops. The last time it was in Moscow in the British school of design, where I participated in a twelve-hour express project. I really like working with students, I have things to tell them and I can warn them against bad decisions, give examples of various solutions. Their reaction helps me correct some things, for example, in design presentations, as the onlooker sees most of the game, in this case, the rough edges. The sharp student’s eye notices all the benefits and implications of the projects and their presentation. At whole, work with students is a mutual exchange of useful information; I teach methodology of design, successful problem solving and they can judge the result of my work.

What do you think of the future of Russian design?
If the question is already up for debate then the situation is getting better. Nowadays people hardly ask if there is design in Russia. We have reached the next step which is qualative assessment. The understanding of the fact that this sphere needs development has come even at the level of government. Russian designers win many international contests, work in large-scale concerns abroad, and actively collaborate with foreign design-studios. Many occidental producers are more and more often interested in Russian specialists. All is sorting out, all we need is time. The next step should be, in my opinion, a bright statement of Russian design on large industrial fairs in Europe and America and, of course, we should create a well-balanced “Russian Design” trademark. I’m sure that by combined efforts, we can make it happen.