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of Brisbane flora should be spot lit and Alexander Lotersztain’s passion would drip from the pages if given the opportunity, but sadly, it doesn’t. Externally, the book is a wonderful production, but internally, it’s an opportunity missed. What could have been a celebration of Queensland design and designers comes across as a product catalogue – without the price tags. Sadly absent is the wonderful Queensland warmth that the state is renowned for. Most products are introduced clinically with the product materiality and technical aspects taking center stage. This is great from a manufacturing perspective, a wonderful achievement from a local production perspective (an ongoing battle which the state is slowly overcoming) but the designer themselves are almost non-existent.

Spring Issue 2013

Where is the Queensland narrative? Where is the Queensland designer? The character of what makes Queensland design so wonderfully unique is unfortunately missing from the pages. Finally, eschewing the bright lights of Europe’s design meccas, Queensland designers are realising that they no longer need to relocate and be successful overseas before they are noticed in their native (or sometimes adopted) homeland. As John Stafford summarises “Hightide showcases Queensland Design within our national design conversation” and the tyranny of distance that was once a designer’s major hurdle, has now helped define Queensland’s design identity. Hightide is published Uro Media.

Furnishing International Spring 2013  
Furnishing International Spring 2013