Crafting Competitiveness 7 Artisans on Craft Michael Young Be Productive! The Scope of Uphostery Scope Furniture Scrapbook Shareen Joel
INSPIRATION / IDEATION / DESIGN / INNOVATION / INDUSTRY
editors’ letter Finding your competitive advantage.
... consumers and specifiers are increasingly embracing local products – the market is tiring of mass brands and products of questionable provenance and authorship...
n an effort to assist Australia’s furnishing sector to become more resilient in the face of future challenges, Furnishing International advocates for smart industry and sustainable competitiveness based on craftsmanship, authenticity, design and innovation. In doing this, we aim to represent different perspectives around what is working, who is innovating and what are the best strategies to offer relevant, saleable products to specifier and consumer audiences. We like to see people with ideas and energy doing well. In this issue, we turn our gaze to furniture manufacturing through the eyes of some of our industry leaders. While they are all unique you will see patterns emerging! Each issue has it’s own tone and one theme that repeatedly emerged as we compiled this issue is ‘competitive advantage’. When we search it out, we can see evidence that the best positioned and performing businesses in the sector have their own unique process, product, technology, or offering. Competing in the mid-market with similar products is clearly now a race to the bottom on price. The market is segmenting and Australian designers and manufacturers who find and exploit their unique niche are doing okay. “We don’t compete” is what almost everybody said, proving that if you can find your niche and hold it, there is a viable future. As a fundamental element in this conversation we can also see that consumers and specifiers are increasingly embracing local products – the market is tiring of mass brands and products of questionable provenance and authorship. The design market is demanding sustainable, ethical, quality. These are good signs for local industry. Recent financial hardships have meant that manufacturing companies have had to rationalise their business models with leaner operations and an increased ability to adapt to uncertain market conditions. These constraints present opportunities for new thinking. It’s good to see common sense coming to the fore, we’re seeing great communications and branding delivering real dividends, we see businesses diversifying into complimentary areas of industry, embracing customisation as an advantage over global brands, offering short lead times as an antidote to importation and fostering good business relationships with clients as a vital key to success. We hope you enjoy the various perspective we are putting forward, and join with us as we consider the things we need to keep and the things we need to change for our furnishing ecosystem to remain as diverse and productive as possible.
Ewan McEoin and Linda Cheng
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We chat to Michael Young on his experiences working in Asia. We look at creative innovations from around the world and four great Australian designs made right here.
34 Crafting Competitiveness
Capacity The Scope of Upholstery One of the few remaining upholsterers in Australia, Scope Furniture is diversifying their capacity to remain competitive in a dwindling industry.
Talking Business With Bekaert and Qasair.
Differentiation through craftsmanship, design and authenticity is a crucial survival strategy in the Australian furniture industry. We visit seven successful businesses and investigate their approach to carving out a niche.
58 New Products
Scrapbook Product and interior designer Shareen Joel shares her inspirations, influences and most idolised possessions.
68 Industry News
Cover image: Paul Blake of Chatsworth Fine Furniture. Portrait by Change Creative (Ty Layton) Correction: Last issue, we misidentified Patrizia Torelli as President of the Australian Furniture Association (p.43). Her correct title is CEO.
Australian Design. American Hardwood. Adam Cruickshank is just one of many Australian designers who favour American hardwoods in their work. According to Adam, American hardwoods are â&#x20AC;&#x153;A-grade furniture timbers. They are stable, cut well and rarely slipâ&#x20AC;?. Their beauty is of course indisputable. Adam and other Australian designers will be showing their American hardwood designs in the Galleria at Sydney in Design in August. www.adamcruickshank.com.au
Pictured: Horizon Chair by Adam Cruickshank, American walnut
Founder/Publisher Peter Zapris email@example.com Editor-in-Chief Ewan McEoin firstname.lastname@example.org Deputy Editor/Art Director Linda Cheng email@example.com Graphic Design Change Creative (Phillips Hentri) firstname.lastname@example.org Printing Ellikon – Print • People • Planet ellikon.com.au Contributors Sharyn Cairns, Change Creative (Ty Layton), Nick Granleese, Armelle Habib, Elizabeth Harvey Contributing Sub-Editor Alexis Drevikovsky General Manager George Iliadis email@example.com Subscriptions Manager Natalie Tshaikiwksy firstname.lastname@example.org Advertising Enquiries George Iliadis Phone: (+61 3) 9417 9399 Fax: (+61 3) 9417 3981 Mobile: (+61) 400 519 218 email@example.com Ellikon Publishing 384 George Street Fitzroy, VIC 3065 Australia furnishinginternational.com Furnishing International the exclusive Australasian member of:
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Inspiration Design is born from experience – travel, problems, blood, sweat and tears... All these things make for a good designer. If you don’t experience that, you’re not going to enrich your life and you won’t have good design.
— michael young
above: Michael Young recently collaborated with Australian textile company Instyle. Left: Michael Young
michael young is a proliFic designer based in hong kong. he’s known For his collaborations with international brands and launching products in a wide range oF markets, all the while working with local industries in china. he shares his views on business, being motivated and the raw Facts on doing business in australia. Interview Linda Cheng Photography Courtesy of Michael Young Studio
Can you tell us about your experiences working in Asia? It’s been a really organic. I got a lot of attention when I went to Hong Kong. That really helped people engage with me. Around that foundation, many businesses started to happen. The fact is if you can offer good design and good promotion, then people will come to you. Some 20 or 30 companies that I’ve worked with are all doing really well. How did you make that happen? I’d say entirely by accident. I think if I had gone to Asia without a few things under my belt, it wouldn’t have worked. Luckily when I left college, I got backed by a Japanese company. I worked for Laurent Perrier. I was in a micro-cosmos where things were happening and I got a few little opportunities. Those things became very important culturally 10 years later, like working for Magis, Cappellini and Rosenthal. So by the time I came to Asia, I had some ammunition. They trusted me. That was really the foundation. But also equally, working for those companies meant that I had a communication network in Europe which for Asia is incredibly valuable. Australians sometimes feel disadvantaged by the distance from Europe. You’ve been based in Hong Kong for a long time and you work a lot with these international companies, can you tell us about your experiences with that and do you have any words of wisdom for Australians who feel that disadvantage?
Left: Michael Young’s design for the new Moke beach buggy right: EOps Noisezero i+ Eco bioplastic earphones made from cornstarch.
I think it’s incredibly diﬃcult to build a company here. For individuals to develop themselves amongst all this bureaucracy, it’s a complex thing to wade through... This has to be the most over regulated-country in the world...
Winter issue 2013
Life’s not based on an island mentality. I think Australians are quite sensitive to the isolation. Design is born from experience – travel, problems, blood, sweat and tears, humility and so on. All of these things make for a good designer. If you don’t experience that, you’re not going to enrich your life and you won’t have good design. There are great designers like Jasper Morrison who had a great level of observation but he also has a keen interest in cuisine. So his experience of world travel reflects in the furniture and objects. You just feel it, you can see this guy has been to all these places. So if you only have life experience in Australia, you’re going to have an expression of Australia that’s not an international one. Culture is only created from the dirt on the ground. When I lived in Shoreditch 20 years ago I’d see Michael Marriott, who’s a great furniture designer, and artists Gavin Turk, Jasper Morrison and a sprinkling of people. No one had any money but it didn’t matter. There was a great sense of community and out of that, so many great things happened. So that’s the kind of thing you need in Australia. What’s your critical view of the Australian design industry as an outsider looking in? There are a lot of brilliant Australian designers – I meet them all the time – but I guess they don’t have the opportunities to develop their business. I think it’s incredibly difficult to build a company here. For individuals to develop themselves amongst all this bureaucracy, it’s a complex thing to wade through. From setting up a limited company to the tax system. Everything’s got a system. There’s a spotlight on everything you do. This has to be the most over-regulated country in the world actually, apart from communist countries. Then there’s the other issue that is about 30% of the furniture that comes into Australia is fake furniture from China. If the Government actually tried to improve or assist copyright protection, you would have 30% more opportunities for local designers. When I left college, the only way to survive was to design a chair for a café. It’s a really simple ingredient. You get the opportunity to design
a light or a table for your friend’s restaurant, word of mouth spreads and many things can happen. That’s really how a lot of British designers started to develop their skills. They have these little opportunities. Here it’s so cheap to just to buy that $30 chair from China. I sit on the outside and look at Australia and I hear people say, “If it wasn’t so expensive, I would buy it”. My answer to that is, “If it’s so expensive, just design something else. Don’t copy it, design your own.” So I think there’s an immense disadvantage on that level because it’s not something that’s a small problem. It’s such a shame because it stops the cultural development of a country. Do you think the design culture has moved to a point where there’s a glamour aspect to design? Potentially. These days everyone’s into micro marketing. I was into survival. You make something and you sell it. I guess after Wallpaper*, which was a good thing, design became contextualised and glamourised and it became a sort of lifestyle. There are so many foundations in design that a lot of the young designers think they want to emulate. To actually do what Jasper Morrison did for example, he started things like Magis, he actually created the blood on the street. But that’s somebody else’s story. I think a lot of young designers don’t know that you’ve got create your own path. Do you have any advice on how Australians can go about expanding their networks in Asia or Europe based on your experience? Just get a ticket. Don’t question it. If you think about it, you’ll just stay at home getting paranoid. I honestly think if you’re capable of being employed by a company, the chances are you’ll never do anything else. You have to take those risks, otherwise nothing happens. You’ve just got to have motivation. There’s limited manufacturing here but it’s no excuse. That’s why I like the culture of China because it’s got no support or welfare system so you have to work. You have to be productive. michael-young.com
Zero waste table Designed by Melbourne-based architect Andrew Maynard, Zero Waste table is made of a single sheet of plywood measuring 2400mm by 1200mm. Using a CNC router, the sheet is cut symmetrically along a central axis resulting in a set of unique shapes, and every single piece is used to assemble a table. Notably, Zero Waste Table utilises the flexibility of bolted joins and connection over rigid chemical adhesives. Gluing the components together makes the table strong with fixed connections, the object is unchangeable. By using bolts only, this table has the flexibility to be rearrange, extended, repaired, and is also easily assembled and dissembled. Zero Waste Table is a finalist for the Swinbourne University Sustainable Product Design Award at this yearâ&#x20AC;&#x2122;s World Environment Day Awards. (Photography: Nick Granleese.) maynardarchitects.com
parker Furniture Bringing great Australian design back to life Sydney manufacturing and design outfit WORKSHOPPED is collaborating with Covemore Designs to re-introduce selected pieces from the ‘Mid-Century’ range designed by Tony Parker (pictured right). As if destined for resurrection, Tony Parker’s furniture is made by the original skilled tradespeople Parker Furniture, who are now employed by Covemore. Tony Parker spent his early career in London honing his skills by designing contemporary furniture for the department store John Lewis. When he returned to Sydney, Tony set out to expand his father’s furniture business by developing the ‘Mid-Century’ furniture range. He’s been a leader of the Australian furniture industry for over 40 years. WORKSHOPPED is the exclusive distributor of the new ‘Mid-Century’ range made by Covemore in the factory in Seven Hills, Sydney. parker.workshopped.com.au covemore.com.au
Winter issue 2013
latitude Latitude is a new pendant designed by Perth-based lighting designer, Flynn Talbot. Featuring a circular cage of powder-coated steel housing an aluminium cone and a suspension cable that can be mounted anywhere on the frame, the lamp has the flexibility to be installed at any angle, allowing it to be used as a downlight, uplight or spotlight. It can be fitted with an LED or compact fluorescent lamp. ďŹ&#x201A;ynntalbot.com
Winter issue 2013
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petit ballerina Prima and Petit Ballerina (pictured) by Melbourne-based designer Simone LeAmon draws inspiration from a historic lamp shade design. Emerging in the late 19th Century, the ballerina lamp shade is easily recognisable as one of the iconic decorative objects from the Edwardian era with its distinctive silhouette, twist and frills. Simone developed the product with lighting manufacturing Rakumba in a six-month residency. Through exchanging ideas and learning the manufacturing capacity, the product evolved to capitalise on the skill-sets of Rakumba craftswomen. simoneleamon.com
Winter issue 2013
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woodskin WoodSkin is a clever new composite material created by Giulio Masotti and Gianluca Lo Presti of Milan design studio Mamma Fotogramma. The material made of wooden pieces moves with the flexibility of fabric. The tessellated pattern creates an organiclooking skin and an eye-catching surface. Mamma Fotogrammaâ&#x20AC;&#x2122;s design originated from an open-source design competition Autoprogettazione 2.0 in 2012. Later that year, the studio were able to put their concept into practice when they used it to design part of the lobby interior an indoor rock climbing gym in Montreal. Experimenting with hybrid materials that could be both rigid and flexible, the pair created three-metre long wheeled presses in an effort to help them search for a process of making WoodSkin. After two months of experimentation, the end result emerged, made from Russian plywood on a vinyl mesh with the triangulated pattern created using a CNC routing machine. It gives the surface self-supporting rigidity whilst at the same time, flexibility is achieved. WoodSkin makes it easier to achieve complex shapes on surfaces without an elaborate supporting structure. mammafotogramma.it
Winter issue 2013
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mataerial Mataerial is a revolutionary new method of 3D printing. Conventional additive manufacturing works by building up layer upon layer of material on a flat 2D horizontal surface. It makes creating 3D objects on non-horizontal, unsmooth or irregular surfaces almost impossible. Created in a collaboration between Institute for Advanced Architecture of Catalonia and Joris Laarman Studio, Mataerial works by using innovative extrusion technology. Harnessing the power of a robotic arm, similar to those in car manufacturing factories that spraypaint parts, Mataerial prints ‘cables’ melted plastic onto any surface at any angle. The method, dubbed ‘Anti-Gravity Object Modelling’, creates naturally shaped objects and follows exact stress lines of custom shapes. It can also manufacture structures to any size. We’re interested to see how Australian companies embrace the emerging possibilities of 3D printing, dynamic structures and thin ply technology. mataerial.com
Winter issue 2013
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printed solar cells Three years in the making, Australian scientists have produced the largest printed solar cell. In a collaborative effort between CSIRO, Victorian Organic Solar Cell Consortium (VICOSC), The University of Melbourne, Monash University and industry partners, researchers have been able to print organic photovoltaic cells onto an A3 sheet of flexible plastic, which is ten times larger than previously possible size of a fingernail. The $200,000 printer uses existing printing techniques with semi-conducting inks and can print onto plastic or steel. The cells are expected to generate 10-50 watts of electricity per square metre. Itâ&#x20AC;&#x2122;s also fast, producing one cell every two seconds. This extremely accessible technology is making ever increasing advancements towards off-grid power generation. The printed solar cells can be applied to roof tiles and sheeting, cladding and even curtains which, as well as filtering sunlight, can have the added function of generating electricity for a building. csiro.au
Winter issue 2013
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Ideation Design Innovation I really believe the design process is informed by having close relationships with people who actually make things...
— paul morris, Join
FEaturE: craftinG coMpetitiVeness
craFtsmanship is eXperiencing a kind oF renaissance in the australian Furniture industry. we visit seven craFtsmen and investigate their uniQue approaches to craFt. Text Linda Cheng Portraits Change Creative (Ty Layton, pp. 35–38), Elizabeth Harvey (p. 41)
Winter issue 2013
n the world of furniture making, the pendulum has swung many times between the heights of industrial efficiency and humanist craftsmanship. Right now, as we see market forces rationalise almost to the point of oblivion, it seems that the negative implications of industrial excess are re-igniting an appreciation for craftsmanship and provenance as we search for more humanist modes of production. We’ve seen this well documented through the Arts and Crafts movement of late 19th Century. Spearheaded by English writer William Morris, the movement rejected great technological advances that led to the Industrial Revolution, instead, championing principles of tradition craftsmanship. We can see many of the Arts and Crafts ideals paralleled today – an emphasis on quality, truth to materials, integration of design and making, even craft as a form of social healing. We spoke to seven practitioners from around the country about their different approaches to production and the ways they have sustained a competitive business against the swinging pendulum of lower costs and lower margins and we see some critical themes emerging. As competitive strategies go, diversification is an excellent way to stay
competitive, often as well, it’s an effective method to protect against the pressures of retail. Whether this is through customisation, working with architects and designers or with clients direct. The downward cost pressures have caused a polarisation in the market. Whilst cheap imports have found a place, there’s also an upward trend of people who are prepared to spend more, but less often, on products that they can emotionally connect to. According to industry opinion, the biggest competitive advantage is the ability to customise, be quick to market and maintain short delivery lead times. Our featured practitioners all have diverse and varying approaches to their work, but what they all have in common is the determined and unwavering pursuit of quality. This has allowed each to carve out their own niche in the upper pool of the market. There’s also a sense that whilst at times it seems to be a hard life that they’ve chosen, craft is also a deeply person endeavour. The act of making something, to have that humanist connection to a product and impart the narrative of a craftsperson, the materials and the process within it is what sets them apart from the pack. And it’s this connection to the products that consumers are responding to.
FEaturE: craftinG coMpetitiVeness
aul Blake is a traditionalist. For over 15 years, the Director of Chatsworth Fine Furniture has been producing time-tested designs of 15th to 17th Century European antiques. “Everything’s traditional,” says Paul. “We are creating the antiques of tomorrow, manufactured to suit today’s modern conditions.” Chatsworth’s original designs take inspiration from a myriad of sources including decorative arts and architecture from periods such as William and Mary, Renaissance, Louis XVI and Gothic. Paul uses traditional craftsmanship techniques ensuring the furniture is made to last a lifetime. “The scale of the product is so important,” says Paul. “You need to have the knowledge and the expertise so every piece is aged and finished making it look like an antique piece of furniture.” Paul’s interest in antiques began when he worked for a small company restoring furniture. From there, Paul started his first business that consisted of aging and polishing. Realising there was a void in the market for high-end furniture, he then established Chatsworth Fine Furniture. Today, the business employs five artisans who create the pieces, including Paul who completes the aging and finishing in his Hoppers Crossing workshop, west of Melbourne. Chatsworth manufactures custom creations for selected retail outlets, architects and interior designers. It’s this strategy coupled with the enduring quality of the products that has allowed Chatsworth to buck the recent trend of an industry-wide slowdown in furniture manufacturing. In an age when competition has forced the market to move towards the low cost, Chatsworth has been able to hold its ground by customising for one-off creations. “It sets us apart,” explains Paul. “We’re a niche market. We don’t compete. We look at bringing out new products in the slow times because people are looking for new designs. It’s a luxury item and cost is only a small factor.” This exclusivity, however, does come with certain challenges. Getting good penetration into the market without over exposing it is a constant delicate balancing act. “Being a high end product, it has to be an exclusive product,” explains Paul. “We limit designs and styles to specific outlets. You would find it difficult to find the same item in two stores within a certain area. It’s very exclusive furniture and that’s what helps.” Going forward, Paul is in the process of implementing a strategy to work with agencies around Australia to represent his products including a soon-toopen Sydney agent. chatsworthfinefurniture.com.au
FEaturE: craftinG coMpetitiVeness
The Industrialist Winter issue 2013
eaded by Rob Young, Profile Furniture has manufactured for and supplies the top end of furniture retailers. In the last few years, as retail has declined, the company has diversified into the contract market as well as adopting lean and efficient processes to survive a shrinking furniture market. Although still a craft-based manufacturer, Rob recently took over a new factory in Collingwood, in inner-city Melbourne and invested heavily in new technologies and processes to modernised production. “As a company, we’ve got a lot of experience in craft,” says Rob. “We do a lot of R&D and experimentations to make chairs as light weight as possible to give them a design feel and help them get to a different direction in timber. In a sense, reinterpreting craft in a more modern way to solve a modern problem.” “I don’t believe in craft for craft’s sake,” he continues. “Because we’re involved in industry, we need to look into appropriate ways to give us long lasting, high quality products. So I think the craft is embedded in the product.” Three years ago, Profile Furniture supplied their solid timber furniture to popular Melbourne eatery, Circa. Through this, Rob saw an opportunity to further diversify the business in the hospitality market. “Australia in general has a very strong hospitality sector,” he says, “and we’ve found that high-end hospitality has a greater take up of solid timber and craft because the environment demands something very hard wearing. Veneer just won’t cut it and people will pay for a short run of a certain design. It’s a very good place for craft.” Short runs of high quality furniture may be the backbone of survival but for Rob, putting in place avenues for offshore production have also ensure the company’s ability to manufacture at large runs at a competitive price without compromising on quality. “We’re working on a thing called parallel production where by we will develop and manufacture products here and sell it in small volumes,” explains Rob. So while 60-70% of their products are manufactured locally, larger volumes will go offshore and control of the quality is still maintained by Profile Furniture. It’s also allowed the company to capture back a part of the market that has gone to imports. “In a sense, we’re getting some of the market we’re losing because other people will just copy it anyway.” On a broader scale, parallel production also ensures the longevity of craft. Instead of thinking about craft as a local, provincial type of production, Rob believes in craft internationalism. He employs German journeymen who impart their knowledge and skills and in turn, the craft-base is passed onto those offshore countries. profilefurniture.com.au
FEaturE: craftinG coMpetitiVeness
amien Wright is widely recognised as one of Australia’s foremost timber craftsmen, a favourite amongst architects and designers who has worked in private commissions for the last 20 years. His exquisite Brief table is currently travelling around Australia as part of JamFactory’s WOOD: art design architecture exhibition. After graduating from a Bachelor of Arts in history and politics, Damien found himself facing unemployment. “So I started making furniture out of driftwood because I had a yearning to do so,” recalls Damien. Whilst travelling around the world visiting furniture studios, Damien came across Glen Holst’s workshop in Bridgetown, WA. Inspired, he quickly saw the potential for a future in furniture making. Damien works almost exclusively with Australian Indigenous timbers. “Very much timbers that are outside of the dominant cannon of craft timbers,” he explains. “These Australian species don’t fit into an industrial furnishing scale because the timbers just don’t provide the uniform product that fits into the demands of a volume growth industry.” As such, he works predominately in one-off commissions for clients, architects and designers. Apart from his much-revered craftsmanship skills, it’s this language of Indigenous timbers that is central to Damien’s work. “Very early on I developed technical specialities in particular types of timber and a particular argument about the use of various Australian timber. It ties me back into my formal training as a historian and my interest in politics, society, environment and economics,” he says. “So I found a way to explore a form of identity politics through woodwork.” In 2010, Damien was invited by the Gumatj clan of Yolngu people of north east Arnhem Land to assist in their timber forestry project. The workshop which he helped set up makes useful products for their community. To the Indigenous people, this was a chance to exchange knowledge and expertise, a two-way learning process the Gumatj refer to as ‘balagalili’. “I think there’s lots of potential for those types of enterprises, for their social relationships and the social capital, but also for the potential economic capital that comes out of them as well,” says Damien. One of the major drivers of Damien’s work is the cultural-political value of craft. “Craft is a way of reconciling a settler experience,” he explains. “It’s a way of connecting to Indigenous cultures, both in Australia and across our region. It’s under developed and under explored in terms of its capacity to find meaningful relationships between a settler society and our Indigenous people. Craft is a search for meaning and place-making and craft is about reconciliation.” wrightstudios.com.au
FEaturE: craftinG coMpetitiVeness
The Perfectionists C
hristian and Fiona Cole have been making hand-crafted timber furniture for 14 years. Both are immensely passionate about the origins of timber and the life of the tree that is embodied in each piece. Christian Cole Furniture has been awarded many times including the 2012 Furniture of the Year Best of the Best Award. Christian is in a league of his own when it comes to craftsmanship skills. In fact, the couple have trouble finding fully qualified furniture and cabinet makers who have the required skill sets. “We’ve had people come to us as fully qualified cabinet makers who get stressed and actually leave because they’re challenged too much. They don’t have the skills, and they don’t know anything about the timber,” says Fiona. “We’re very passionate about the craft,” she continues. “So we need to take on apprentices because they need to be trained in the school of Christian Cole Furniture.”
Winter issue 2013
The business both designs and manufactures products for architectural commissions, custom made and production pieces which they retail from a small showroom in Brunswick, Melbourne. “The first two are done purely to pay bills, to feed our family,” says Fiona. “The third is more for Christian’s own artistic outlet and fulfilment. He’s a craftsman and an artist. He loves to be able to make his own pieces.” Through architectural commissions, Christian’s work can be seen in high-end, high-profile places. Projects the company has been involved in include the door jambs at the redevelopment of the Great Southern Stand of the MCG and the refurbished Wynns Coonawarra cellar door where a Christian Cole table sits pride of place. “Our pieces advertise themselves and they’re everywhere,” says Fiona. “And we’ve grown really organically, it’s been a lot of word of mouth.”
However, Christian and Fiona sought out the architectural commissions strategically due to their larger scales. “It’s a lot easier in a lot of ways because everything is given to us, all the plans, and we just follow those directions,” Fiona explains. “There’s definitely more money in big architectural jobs for us.” As well, one of the strategies that has helped the business weather the recent financial crisis has been to safeguard their timber supplies. “We’ve always bought our timber in advance and stockpiled it to selfpreserve for the future,” Fiona says. “So we’ve got timber that is seasoned and ready.” For the future, the business is looking to the export market. “What we would like to do is sell maybe 50 pieces a year to a beautiful high-end shop in Shanghai,” says Fiona. “And we can do that with just four staff. And that would be great for us.” christiancolefurniture.com.au
FEaturE: craftinG coMpetitiVeness
The Collaborators R
ebecca and Brett Gray own and run boutique manufacturing business Designs in Timber from Youngtown, Tasmania. Initially, they were making coffee tables and dining tables and distributing them through Living Edge in Melbourne. Most notably, in 2012, they launched the new, much-publicised brand One/Third with artistic director and well-known Queenslandbased designer Alexander Lotersztain. The collaboration was facilitated by the Australian Government agency Enterprise Connect, who in 2009 conducted a business review of Designs in Timber. Rebecca and Brett met Alexander through Design Objects Tasmania and in a 50/50 funding arrangement with Enterprise Connect, they engaged Alexander as a consultant for their business and thus One/Third was born. Alexander helped the business engage five key designers from five states to ensure national reach including local Tasmanian
designer Matt Prince, as well as Helen Kontouris (Victoria), Jon Goulder (Western Australia), Adam Goodrum (New South Wales) and Alexander himself. The company’s strategy points to a successful European model, which can be seen through high-end retailers here in Australia. “With European brands coming to Australia who have designers lending their names to them, we thought why can’t we do that here in Australia?” Rebecca says. “We have well designed furniture, they’re well made and they’re competitively priced. And we’ve got good delivery times as well.” “The designers were fantastic,” Rebecca continues. “Because we had Alex involved as our artistic director, he knew who to approach. We didn’t – and still don’t – want to make any design and find there’s no market for it. So it was important to us that we were spending the money to prototype the right product. That’s why we did what we
did. We’ve engaged five designers with good reputations to give One/Third strength.” One/Third was launched last year on the principles of high craftsmanship using Tasmanian timbers and a collection of products for the contract furniture market designed by the some of the best designers in Australia. It wasn’t long before retailer Stylecraft came on board as the exclusive distributor of the brand. The new brand has secured the business a new income stream in addition to their existing offerings in the residential market. “We’re probably doing more One/Third products now and that’s helped our business,” says Rebecca. “Unless you’re doing something different and building on a brand, it’s going to be really hard.” Rebecca reflects. “People want to buy something that has a story behind it.” designsintimber.com.au
FEaturE: craftinG coMpetitiVeness
The Licensee Winter issue 2013
anish-born Arne Christiansen established Woodmark in 1986. Originally, the company imported the Erik Jørgensen brand from Denmark. Arne is himself a trained upholsterer as is the name sake of this imported brand. Following this example of upholsterer turned furniture manufacturer, Arne soon negotiated a contract to manufacture Erik Jørgensen products in Australia to negate the long lead times it took to ship from Denmark. “The Erik Jørgensen products cater for a very highend market and the local manufacturing was very well received in the market,” says Arne. Indeed, the Australian appetite for Mid-Century Danish furniture coupled with the short lead times (four weeks) of local manufacturing have given Woodmark a significant advantage over other high-end imported brands. In keeping with the Erik Jørgensen tradition and philosophy, Woodmark’s approach to craftsmanship has always centred around highly skilled trades. “Craftsmanship is everything,” Arne says. “Without it you cannot develop or prototype any furniture. All our upholstery tradespersons completed their apprenticeships with me.” “Craftsmanship will always be around,” he continues. “It’s a necessity to maintain it and support it. Logically you cannot use a machine or a non-skilled person to make the high-end upholstered furniture products like we do at Woodmark.” The company has also had a history of working with Australian designers in addition to their range of licensed products. Most notably, Sydney designer Charles Wilson’s Boulder lounge and Heron chair have entered the design spheres as somewhat of a modern classic. Woodmark has also manufactured the works of other local designers including Keith Melbourne, Matthew Sheargold, and Norman and Quaine. As well, Woodmark have a good network of distributors. Arne sees the company as “a bridge between designers and distributors”. Woodmark’s strategy has been one of consolidation. Firstly, to integrate its wholesale offerings by manufacturing locally and integrating design with manufacturing. Most recently, to further strengthen their position, Woodmark merged their operations with another local manufacturer, Luxmy Furniture, who make mellamine and veneer products. “We know the Rao family who own Luxmy both professionally and personally, and they are an excellent partner to ensure continuity of our brand and expertise we have built up over the last 23 years,” says Arne. “It also gives our roster of furniture designers a much larger distribution network, which is very exciting for them and for us.” woodmark.com.au
FEaturE: craftinG coMpetitiVeness
aul Morris runs furniture design business Join, making small to medium production runs of bespoke, high-end furniture through local manufacturing. The company works strategically with the architecture and design industry supplying to building projects in corporate, hospitality and residential sectors. By specifically targeting the architecture and design industry, Paul credits his ability to compete with the ability to offer a service where he can customise and tailor a language of design and construction to the style of the project. He says, “When we do a project, we manage it and design it as a package that appeals to a lot of architectural firms.” Paul’s interest in furniture started at an early age through his parents who restored antiques. “I was particularly interested in early Australian country furniture,” he says. “What appealed to me was the ingenuity and resourcefulness of using found materials and using whatever tools you had and available skills.” As such, materiality has been a constant theme. As well as an intimate understanding of materiality, Paul works closely with the craftsmen who make his designs. “I really believe the design process is informed by having close relationships with people who actually make things,” he says. “So you can in effect reverse engineer what you’re doing when you’re designing it. For me, we need to keep manufacturing because this is what enriches our culture as a design industry.” Paul’s approach blends his early interest in antiques with modern methodologies in design, using traditional thinking and modern techniques be they hand-made or machined to achieve a crafted end result. “What I try to seek out is people who have that hand made mentality and experience and have the technical ability to actually train a machine to produce that same result. That’s when you’ve got a product,” he says. “I think most people, if they see something that’s well crafted, something that has a story behind it, they can start to understand it. I think when things are authentic and have had a discerning hand and eye cast over them, you can really sell the emotional part of the product.” In addition, there’s always been an ethos of responsible, sustainable design to Paul’s work. Without greenwashing, Paul’s approach is centred on designing for longevity. “We’ve made quite a conscious effort to say to our clients we don’t really want to use the word ‘recyclable’, because that infers that there’s an opportunity to get rid of it,” he says. “Design should be made to last with an enduring style. So this whole idea of producing things is very much about producing less and making them last longer, making them so they can be repurposed or sold.” join.au.com
CapaCity: scope furniture
The Scope of Upholstery one oF the Few remaining upholsterers in australia, scope Furniture is diversiFying their capacity to remain competitive in a dwindling industry Text Linda Cheng Photography Courtesy of Scope Furniture
Winter issue 2013
capacity: scope furniture
pholstery is one of those trades in the furnishing industry that would face possible extinction if it weren’t for a select few people and companies still in the business. In Victoria alone, the upholstery schools have closed down and it’s no longer offered as TAFE course, so the only places left to learn the trade is on the job. Drew Milvain is one of these people keeping the trade alive. As owner and director of Scope Furniture, he started the company as an upholstery business and over the years, the company has evolved to become a manufacturer of commercial furniture, making products for many of the well known brands and retailers in Australia that are often specified by architects and designers. Scope made products are easily recognisable in many commercial projects. Initially studying architectural drafting, Drew always had a keen interest in furniture but fell into the upholstery trade inadvertently after he was offered a job through a friend. From doing odd jobs in his home shed to picking up custom work and sharing a factory with another Melbourne manufacturer and retailer, Tait, Drew now runs two factory operations in Tullamarine and employs around 20 staff. From humble beginnings, the business has matured and consolidated its position in the market. “We don’t compete,” Drew says. “We’ve really stayed on a path of custom made commercial furniture and short lead times. All the things that can’t be sourced from overseas and there are only a select few here who are doing it.” Short lead times, high quality products and the ability to adapt have really been the key to Scope’s survival in the industry and maintain their capacity. “At the moment we have 115 different jobs in the system, which would add up to 900 individual pieces of furniture. And we can be working on 10 different things in a day,” says Drew. As more and more contracts have come in, Scope has adapted to add other trades to the business. Last year, it acquired a steel factory in a neighbouring street. “It came with a contract to make table bases as well as all the steel bases for our chairs and tables that we make here,” explains Drew. “It’s been a good addition to complement what we were already doing so we didn’t have to outsource as much.”
Winter Issue 2013
capacity: scope furniture
capacity: scope furniture
Previous page: Cabinets workshop Left: CNC machines. Bottom left: Benito chair frames Bottom right: Cutting bench and fabrics workshop
Now with the steelworks on board, it presented an opportunity to streamline the business’s operations. Like running a commercial kitchen, Scope implemented some new systems that have allowed them to maximise efficiency. “We produce just in time which means rather than sitting on a whole lot of stock for 2-3 weeks and have it sit in the loading bay for that time, we produce it to finish within 5 days of it being delivered,” says Drew. “That way we won’t need a huge factory to store stock and we have enough manufacturing work.” This has allowed the company to increase production by 30-40%. In addition, Scope has also taken on an in-house designer which has meant they’ve added a design capacity to their business. Scope designs and develops products for their clients as well as a range of products under their own brand. Utilising 3D modelling technology, they can virtually prototype a product without physically making one. “It’s a lot less outlay to get what the clients want,” Drew says. Scope is focussed on developing their core relationships that have been the backbone of the business. “Developing a large group of good clients has been the secret,” Drew says. “My core clients who have helped the business grow to where it is now, most of them I’ve been working with since we first started really. I think that certainly helps and it’ll get you further than just having a good product.”
With the new ability to design products, Drew finds his business is heading in new directions. Whilst maintaining a core business of contract manufacturing for clients, Scope is ever increasing their own range of products without competing against their clients. “For most of our clients, we’re a contract manufacturer to make a product for them,” says Drew. “But we’re quite confident there’s enough room in the market to do things that they wouldn’t be doing that we know we have the skillset to do. In the last 6 months, we’ve been developing a range of our own products to fill a hole in the market that we see and doing so not to tread on our existing clients’ toes.” “Because we do everything in-house, we can design it, manufacturer it, promote and sell it,” says Gavin Jarvis, Scope’s designer. Eventually though, the vertical integration of design, manufacturing and retail is becoming a more and more likely path for Scope as cost pressures with some retail outlets are in turn pressuring the business to explore other income streams. “At the end of the day, it costs more to manufacture in Australia than to import. What we think we offer is something different than what you can get from overseas and therefore it costs more,” Drew says. “The future of the industry will be people like ourselves who manufacture and retail their own product.” scopefurniture.com.au
scope Furniture Machinery
Multi Cam CNC Machine Paoloni P320 Panel Saw
Adhesive & Foaming
Shann Eco Mini Water Based Glue System and Personal Water Based Glue System
Cutting & Sewing
Brother Industrial walking foot machine Brother Twin needle sewing machine Pegasus Over-locker machine
Lighting Straight blade layer fabric cutter Upholstery
Various hand tools
Maximum output 25 units per day Number of staff 15 (upholstery), 4 (steelworks)
Talking business: bekaert textiles
The business of mattress ticking The bedding industry has seen many changes in recent history. in spite of these setbacks which has adversely affected bekaert’s core business, a strategy of diversifying into new markets has ensured its continued sustainability.
Winter Issue 2013
ekaert Textiles is a global company with local manufacturing capabilities. Since Bekaert Australia was established in 1956, it has supplied this country’s bedding industry with woven mattress tickings, and of more recent times, with knitted fabrics. In more than half a century, the company has grown to employ 130 people and is a proud contributor to the Australian Made campaign. Whilst mattress ticking is the core of the business, several factors in the industry as well as local conditions have caused the company to diversify into other areas of fabric production in order to grow and evolve. The first being the size and limitations of the Australian market. “With a small population base and a small manufacturing unit, had we concentrated purely on mattress ticking, we probably wouldn’t be here now,” says Peter Watt, Ticking Sales Manager of Bekaert. “We had to diversify to spread our overheads and our costs.” Since the 1980s, Bekaert have also produced a range of upholstery fabrics. Over the years, the business has adapted to also produce blind fabrics. It’s a strategy that helps to protect the business from vulnerabilities of too much exposure to a single industry. One the most significant setbacks which the business has had to overcome has been the way in which mattresses are currently manufactured. In recent times, the development of the single sided mattress – one that doesn’t have to be turned over as is the case with the older double sided mattresses – has meant the requirement for mattress ticking has basically been halved.
talking business: bekaert textiles
Business “So the available bedding market to us has shrunk,” says Luc Deleu, Managing Director of Bekaert, “which is why the company has had to grow the other parts of its business.” As well, six years ago, when mattress ticking technology moved from woven to knitted fabrics, the company needed to adapt and acquire new machinery along with strengthening its design and innovation teams. But this also presented them with an opportunity to diversify their product offerings that utilised the existing machinery. “We had weaving machines that were not running anymore for the bedding industry. But in the healthcare sector we have developed a range of incontinence fabrics that is proving very successful, as well in the home furnishings sector where the market is very active, we have developed an extensive range of coated blinds fabrics to suit. These are markets that we have been developing over the years,” explains Luc. The company also produces a range of technical fabrics for conveyor belts and for the mining industry, for instance, the developments of fabrics which filter dust and liquids. “We’re actively looking to other markets to tack onto the non-core parts of our business,” says Mark Lennox, who heads up Bekaert’s Furnishing division. Locally, the company is continually working with research organisations and universities to develop new products and innovations. Globally as well, Bekaert Textiles is investing in award winning technological innovations such as ‘Adaptive’, which is a textile finish developed to assist in the
management of temperature and moisture in the sleeping environment. The company credits its ability to be quick to the market as one of its strategies for success. “No matter where you import from, even shipping from the closest country to Australia will take approximately 3-4 weeks,” says Peter. “So if we can respond to our customers within that same time frame, along with providing excellent service and innovation, we are in a great position to securing business providing other factors are also in line as well.” Globally, Bekaert Textiles recently acquired American company Progressive Products Inc (PPI). who manufacture zippered mattress covers. “This is a growing part of the bedding industry and the purchase of PPI will allow a greater penetration into the US market by Bekaert, but this trend is also making inroads into Australia as well and the knowledge available through PPI will be vital to our reaction times and product development strategies,” says Peter. Bekaert Australia also has its eyes on the US market. “Our wide width weaving and finishing capacity will offer benefits for our Australian blind fabric wholesalers who are looking seriously at the US market,” Mark says. “Some of the wholesalers we do business with are selling into the US and they like the product because it’s 3 metres wide. They’ve got big windows in the US as we have over here.” Products of this type are not currently readily available in their market. bekaerttextiles.com
Winter Issue 2013
talking business: qasair
taLkiNG BuSiNESS: qasair
The business of rangehoods a local manuFacturing success story, Qasair rangehoods takes on the south east asian market.
top: Qasair factory in Ringwood. right: Qasair Maihand Rangehood Far left: motors Left: ducting
his year marks the 40th anniversary of the Qasair rangehood. It’s an Australian success story – the only Australian made rangehood on the market – taking on its European counterparts. The technology of the Qasair rangehood was originally developed by immigrant German engineer Helmut Goetz who designed the motor as well as the ducting. Goetz departed for the US and the product was bought from him by John Keating and his business partner. Qasair is developed specifically for Australian conditions, climate and cooking styles. Australia is a country of people who like to cook. “We’re so multi-cultural, we do a lot of exotic cooking at home so we need that higher air flow,” says Crystal Wong, Qasair’s Business Development Manager. “Australians cook quite a bit of meat, do a lot of barbecuing on the stove top. We use high powered grillers and teppanyaki plates inside the home – this is where we excel.” Because of the climate conditions in Australia, loss of warm air from the interior of a house isn’t as much of a concern as European homes which have to be airlocked, allowing the motors to move more air through the rangehoods.
“As well as the motors, it’s also the ducting that we use,” continues Crystal. “We make all our own ducting. It’s much bigger than the average ducting used by any other rangehoods which is why they work. We also custom make the ducting pieces for situations where they can’t get around obstacles with standard pieces.” It’s this customisation that has allowed Qasair to corner the market with specifiers. Architects and designers often like to custom design rangehoods which Qasair can manufacture locally. In its history, the technology has remained largely unchanged. “We’ve used the same air movement for many, many years. We’ve had it all tested by CSIRO. But we are trying to get the noise level down further,” say John. The rangehoods are insulated with fibreglass matting which reduces the noise level to around 45 decibels making it one of the quietest on the market. With its success in Australia, the company also exports to New Zealand, Singapore and Malaysia, where similar home cooking styles and similar climate conditions have opened up new market opportunities. qasair.com.au
Scrapbook by shareen Joel
hareen Joel is an industrial designer whose work crosses disciplines of product design, interior, branding and creative direction. She initially worked for Ford Motor Company after graduation, in a role that took her to the car manufacturing hub of Detroit in the US. She is the daughter of a fashion designer and in her 20 year career, sheâ&#x20AC;&#x2122;s blended her interests in fashion with the industrial and engineering culture she acquired while working for Ford. Jetsetting around the world attending fashion and trade shows, Shareen was charged with forecasting and translating form, material and colour trends for the automotive industry. In 2003, Shareen established her multidisciplinary design practice, Shareen Joel Design, based in Melbourne. And in 2011, she launched Share Design, an online resource of design inspirations for designers and consumers alike.
Winter Issue 2013
the place for designers to share their thoughts
by Shareen Joel
Scrapbook by shareen Joel
Shareen Joel in her Prahran studio. Photo: Sharyn Cairns
This Page Clockwise from top left: My inspiration board with samples and materials. A snapshot of my desk and my workspace; Eclipse table, designed for NEST at designEX. It was a collaboration between Shareen Joel Design and Share Design; A sketch from when I worked at Ford Motor Company in Detroit. That was a concept car for the Detroit Motor Show; Sketches and samples on my desk; A stack of design and architecture books; Flowers on my desk; Samples in the studio Next page My favourite design objects. Fronzoni â&#x20AC;&#x2DC;64 Chair by Capellini. Tab Table Lamp designed by Barber Osgerby for Flos. (Photo: Armelle Habib)
Scrapbook by shareen Joel
what inspires me... Because I’m an industrial designer and I’ve worked in the automotive industry, I’m really into manufacturing. Everything has integrity and authenticity. That’s what I’ve always been most driven by.
Scrapbook by shareen Joel
my favourite designs...
Left: KS Macbook Air Portfolio by Kenton Sorenson; Primitives Bowl designed by Vincent Van Duysen for When Objects Work; Eclectic London cented canel by Tom Dixon; Fronzoni â&#x20AC;&#x2DC;64 Table from Cappellini
Winter Issue 2013
Clockwise from top left: Guerrero House by Alberto Campo Besa. I love architecture. Iâ&#x20AC;&#x2122;m inspired by the work of this architect; A Todd Hunter painting and tan leather chair; Le Corbusier B9 chair from Thonet (Photo: Armelle Habib); Swivel table prototype, Yves Klein book and bronze ring
scrapbook by shareen Joel
with Shareen Joel What’s your favourite time of day? Honestly, I would have to say bedtime. There’s nothing like recharging your batteries after a very busy day. What’s on your desk right now? I love having a tidy workspace! I am not a hoarder but love to hold onto my favourite objects, materials and samples that have always inspired me. Right now on my desk I have my aged leather coin and card satchel, a measuring tape, Chanel catalogue, metal and timber samples, sunglasses, a copy of Italian Elle Décor, my Macbook and iPhone. What do you see when you look out at the world from where you sit? My studio is in Prahran on a second floor of a renovated Victorian building where I Iook out over the city skyline. From where I sit I see a rapidly changing world. I often wonder what the world will be like for my kids and their generation as they grow up. It wasn’t that long ago that we didn’t have social media - Facebook, Twitter, Pinterest and Instagram. Social media now dominates all of our lives and particularly for my children they have become accustomed to immediacy and access to everything as it happens. Life is feeling so fast and that there is not enough time for consideration, relaxation and privacy. What motivates you? I have always had a passion for all aspects of design and I suppose it is an intrinsic part of my life. I now have reached a stage where I enjoy sharing my experiences and career within the industry. Who/what are your key influences? My key influences are materials, technology, craftsmanship and quality. The great masters of design and architecture are the finest
Winter Issue 2013
Photo: Sharyn Cairns
examples for me to be inspired by and hopefully follow. In your mind, what is the most critical problem facing us in the future? How can design intercept with that? I see a rapidly changing world in terms of social media and technology and there is not enough time to slow down and consider. I think sketching, model making and creating prototypes are the key elements of design that have been forgotten and I hope they return so that designers can explore with their hands again. What’s your most essential piece of equipment? I have a few – my Macbook, iPhone and measuring tape. What are you most proud of? I am proud of a few things. Firstly I am most proud that I have been able to balance a career with a young family. It is a real challenge for any working mother to juggle
both and particularly have their own business. I am also very proud of my career with Ford Motor Company. At the time that I accepted the position at Ford Motor Company in Australia in 1991, there were very few females in the automotive design industry and as a young designer I took on that challenge and also left Australia alone to work in the UK and Detroit. There wasn’t access to communication as there is today- there was no internet, email or mobile phones to connect with home so I felt relatively isolated but I truly believe it was the best design and manufacturing ‘apprenticeship’ I could have ever hoped for. What now? How do you see the road ahead? I will never stop designing, it’s in my blood but I also love to share information and experience so my second design business, Share Design, has been an incredibly fulfilling and creative challenge. shareenjoel.com sharedesign.com
Industry Unless you’re doing something a bit different and building on a brand, it’s going to be really hard. People want to buy something that has a story behind it.
— rebecca gray, designs in timber
CITYBOOk Modular bookcase designed by Antonella Di Luca and Ubaldo Righi. Made from sheet iron. Available in white and dark grey. Mr Less & Mrs More, mrless-mrsmore.com
Winter issue 2013
Shoppers are looking for Australian furniture and bedding
The Australian Made logo will help them find yours
The Australian Made Campaign is proud to support
Furnishing in Focus
QLD 1-2 May
NSW 8-9 May
VIC/TAS 15-16 May
SA/NT 22-23 May
WA 29-30 May
To find out more visit www.australianmade.com.au or phone 1800 350 520
SERIF STOOL by Charles Wilson. Powdercoated die-cast aluminium. Available in Safety Yellow, X15 Orange, Blaze Blue and Signal Red. Charles Wilson, charleswilsondesign.com
MARINA OUTDOOR TABLE designed by Bruno Fattorini & Partners. Made from protrusion glass fibre profiles. Extremis, extremis.be
UP LAMP, designed by Mattias StrĂĽhlbom for Muuto. Made from aluminium and iron. Available in grey, green and white. Forest for the Trees, forestftt.com.au
kĂ&#x201E;SPAIkkA BATH TOWEL, 100% cotton. Marimekko, marimekko.com
Winter issue 2013
Recopol – GReeninG industRy fRom the inside ™
For the INterNAL FrAMING oF SUStAINABLe FUrNItUre For GreeN BUILDINGS recopol™ recycled engineering-grade aBS mouldings are a sophisticated eco-design medium for designers and manufacturers of sustainable commercial furniture. Select from a range of standard shells or custom design. recopol™ shells have ecospecifier Greentag™ Gold plus level a accreditation. Using recopol™ shells in your furniture can reduce production times, the volume of materials required, reduce VoCs to meet GBCA IeQ requirements and are able to be re-used, refurbished and returned whole or as off-cuts to Wharington for recycling at end of life. AutoCAD drawings available on request.
DeSigneD AnD mAnufActureD in AuStrAliA
Recopol™ is a registered trademark of Wharington International Pty Ltd
Wharington International Pty Ltd 48 – 50 Hargreaves Street Huntingdale Victoria 3166 Australia
T +61 3 9544 5533 F +61 3 9543 1907 E email@example.com
Drill Saw rout Screw Nail cut Glue Bolt t-Nut Metal iNSert re-Shape paiNt p Nt pai laMiNate l MiNate la upholSter Drill Saw rout Screw Nail cut Glue Bolt t-Nut t Metal iNSert re-Shape paiNt p Nt pai laMiNate l MiNate la upholSter Drill Saw rout Screw Nail cut Glue Bolt t-Nut t Metal iNSert re-Shape paiNt p Nt pai laMiNate l MiNate la upholSter Drill
7 Environment ISO 14001
jake upholstery fabrics. Available in various colours and patterns. Charles Parsons Interiors, charlesparsonsinteriors.com.au
FLORENCE BROADHURST BY MORAN â&#x20AC;&#x2DC;ARTISANâ&#x20AC;&#x2122; three seater sofa in Chinese Key and Aubery patterns in Graphite on Pearl Velvet base cloth. Moran Furniture, moranfurniture.com.au
etna collection includes wall hung WC pan, monoblock freestanding basin, vessel basin and semi-recessed basin. Paco Jaanson, pacojaanson.com.au
Winter Issue 2013
918 CLYDE LAMP from Mad Men range. Mayfield, mayfieldlamps.com.au
empire collection 70% viscose, 30% polyester. Warwick, warwick.com.au
mason dining table, bent steel tube base with soldered brass joins and solid flamed pine top. Think Outside, thinkoutside.biz
Winter Issue 2013
petals cushion featuring commercial artwork by Chloe Planinsek. PLANINSEK ART, planinsekart.com.au
PLY-TUBE, timber with E27 fitting. Available in 7 sizes as well as custom. About Space, aboutspace.net.au
Captiva island, two or three sided. Black and stainless steel. Real Flame, realflame.com.au
system165 workstations, solid parchment tops. Progressive Office Furniture, progressiveoffice.com.au
blush rug, from Horizons collection by Jamie Durie. The Rug Collection therugcollection.com.au
6ixty Entertainment unit, Oak with reversible doors, painted or oak finish. Fox Antiques, foxantiques.com.au
Winter Issue 2013
Industry News New kids on the block
Furnishing in Focus 1â&#x20AC;&#x201C;30 May resented by Warwick Fabrics and support by Australian Made campaign, Furnishing in Focus toured the country starting in Brisbane and ending in Perth. The events showcased the best of locally produced furniture. This strictly import free event brought together buyers and exhibitors drawing hundreds of visitors in each city.
Melton Craft turns 25 9â&#x20AC;&#x201C;14 april aunched at Milan Furniture Fair this year was brand new Melbourne-based furniture design practice, Another Small Studio. Comprising of a partnership between object designer Tom Shaw and spatial designer Linda Raimondo, the pair were invited to exhibit as part of Salone Satellite amongst the worldâ&#x20AC;&#x2122;s most promising emerging designers. Tom is originally from Manchester and has lived and worked in the UK and Japan as well as in Melbourne as design manager of Jardan. Linda has worked in design firms in Europe and Asia. The pair established their studio when they relocated from London to Melbourne. Their first collection is inspired by the nomadic lifestyle both have lead. With products designed to be easily assembled and disassembled, and moved from place to place, even across continents. Each of the furniture pieces have also been designed with a cheeky nod to the various cities they have both lived in, including Melbourne, London, Leeds and Tokyo. The duo hopes that with this concept, their collection will have global appeal and help promote Australian design internationally.
Winter Issue 2013
stablished by John and Lucy Booker, Melton Craft was originally a giftware business with a small range of cast aluminium tables and chairs. In 25 years, the business has evolved to a wholesaler of outdoor furniture with a range of cast aluminium, stone, steel, teak, wicker and outdoor leather offerings. Melton Craft is look forward to future business opportunities supplying the domestic and commercial markets.
Global adventure for Lifestyle Enterprise
fter building a solid client clientele base in the US. Lifestyle Enterprise is now turn its attention to the global market. Six years ago the company established a global distribution network penetrating key markets including Australia, New Zealand, South East Asia, Europe, Middle East and South Africa. The company trades in over 60 countries worldwide. With the stronger economy in Australia, based on per capita sale, the market here is now second only to Puerto Rico.
18–21 July DESIGN:MADE:TRADE & Furnitex Melbourne, Australia
Six years strong, Design:Made:Trade has been a springboard for Australian design talent in fashion, furniture, textiles and industrial design. For the first time,
Design:Made:Trade will be a curated forum with Scott Lewis at the helm featuring over 30 artists and designers including the young guns at Lab de Stu, Melbourne ceramicist Gregory Bonasera and Ingrid Tufts who is exhibiting her handmade porcelain tableware (pictured above). Design:Made:Trade is exhibiting as part of Decoration + Design, co-located with Furnitex.
27–28 July Open House Melbourne Melbourne, Australia
1 May – 1 August Design100 City Design Awards Melbourne, Sydney, Brisbane
Now in its sixth year, Melbourne’s prime historic and contemporary architectural buildings open their doors to the public for a weekend, aimed at helping people engage with the architectural heritage of the city. This year, a total of 111 buildings will be opening their doors.
Submissions are open for Design100’s City Design Awards including Melbourne, Sydney and Brisbane. The awards recognise excellence in a multitude of design disciplines including product, interior, architecture and textile. This year, Design100 is also launch a new Furniture Design Awards category. Entries close 1 August.
Winter Issue 2013
A new feature this year will be Australian Manufacturers Precinct showcasing the breadth of Australian made furniture. The move aims to encourage growth in the Australian furniture industry and create opportunities for Australian manufacturers. designmadetrade.com.au furnitex.com.au
3 August – 10 January George Nelson: Architect, Writer, Designer, Teacher Sydney
Powerhouse Museum and Herman Miller present an exhibition of George Nelson, one of the most prolific designers of the 20th Century. The exhibition is curated by Vitra Design Museum in Germany and will be the first time seen in Australia. hermanmiller.com.au powerhousemuseum.com
one last word
One last word
Bekaert Textiles Australia bekaerttextiles.com
cusp: designing into the next decade Almost three years in the making, CUSP, presented by Sydney’s Object: Australian Design Centre, is a major showcasing the work of Australian designers pushing the boundaries of design. Spanning disciplines of furniture, clothing, and housing, the exhibition explores the ways in which design is meeting challenges of everyday life. Bleed by MaterialByProduct (pictured) is a garment project with patterns drawn on with a coloured marker. The wearer’s emotional states trigger the body’s temperature to fluctuate interacting the ink in the garments which literally bleed into the fabric, resulting in a unique and personal record of one’s emotional journey.
Charles Parsons Interiors charlesparsonsinteriors.com
American Hardwood americanhardwood.org
Warwick Fabrics warwick.com.au
Reed Gift Fairs reedgiftfairs.com.au
Interiors Online interiorsonline.com.au
Pocan International popcaninternational.com
Enjoy Lighting enjoylighting.com.au
Hannan Removals hannanremovals.com
Profile Fabrics profilefabrics.com.au
Winter Issue 2013
Malaysian International Furniture Fair miff.com.my
Australian Made australianmade.com.au
Wharington International wharington.com.au
M.A.T. Fine Furniture matfinefurniture.com
China International Furniture Fair ciff-gz.com
Furniture China furniture-china.cn
Canton Fair cantonfair.org.cn
Zoy Furniture firstname.lastname@example.org
About Space aboutspace.net.au