Xavier Lust

Xavier Lust

Born: 27.08.1969 in Brugge (Belgium).
1992: Graduated from the "Institut St Luc"- Brussels I section: interior design.
Since 1990: design and production of furniture and accessories geared to innovation, industrial production, fonctionality, affectivity and commercial viability.

- Collaborations
1997: start of collaboration with Tradix (dealer for Belgium and Luxembourg)
1998: customer: L'Iclaireur Rue des Rosiers, 3ter - Paris(F)
1999: customer: The Apartment, Crosby Street, 101 - New York (USA)
2000: start of collaboration with MDF Italia - Milan (I) (design furniture producer)
2001: start of collaboration with De Padova - Milan (I) (design furniture producer)
2001: customer: Sempre, Tokyo Design Center (Japan)
2002: customer: SFMOMA San Francisco Museum of Modern Art (USA)
2002: start of collaboration with Extremis outdoor furniture (B), on the "PicNik" module

- Awards
5'2001 : "1st prize for the seat: "all around favorite" prize awarded by "Le Vif - l'Express" for "Le Banc"
3' 2002: "Le Banc" is Winner of the 13th Design week Awards "for the best furniture design" at the Grosvenor House Hotel in Mayfair (London - UK)
2003: Cologne (IMM - Internationale Möbelmesse)
The PicNik module was awarded a first prize for 'Best Item' (Interior Innovation Award Cologne 2003)
2003: Paris (Maison & Objet - Now! Design à vivre) 24-28.01.03 The PicNik module won "Les best of NOW!" first prize by a panel of purchasers.
7’2003 - Henry van de Velde 2003 Awards (Belgium)Young Talent
- ADI 2003 Compasso D'oro Awards. (Italy)
Special Mention for "La Grande Table" edition MDF Italia (2002)


There is a physical connection between people and the objects around them.
This delicate and not easily measured relationship may sometime reach a level that lies beyond the (important) considerations of comfort, price and robustness.
A piece of furniture may give a pleasure or spark an emotion that is linked to the idea of beauty.
Innovation is a key aspect of the genuine character of any creation.
There should be innovation in appearance as well as in technical and functional design.
My creative approach is to try to steer clear of the designer's usual stumbling blocks by evolving production systems that result in objects with innovative volumes.
Longevity is a quality that relates to the wear and tear not only of the object but also of the user. By this I mean tiring of an object which once had an identity, but which is no longer in tune with the trend of the day. The ideal design would be one that is unaffected by the passing of time and comes closest to being self-evident, "just right" and beyond time.