March 12, 2025 • 51 mins
Recorded in front of a live audience from the gorgeous Living Edge showroom here in Melbourne, this special episode celebrates our official launch of The Design Anatomy podcast last year. Hosts Bree Banfield and Lauren Li engage in a wonderful discussion with renowned stylist & interior decorator Simone Haag.
We explore the intersection of classic design and modern creativity, delving into how iconic pieces like the Eames Lounge Chair continue to influence contemporary aesthetics.
The conversation highlights the importance of personal stories in design, the challenges of sourcing unique furniture, and the evolving nature of design trends. Simone shares her journey from residential to commercial design, emphasizing the significance of integrity and enjoyment in creating timeless spaces. In this conversation, the speakers explore the evolving relationship between art and design, particularly in furniture.
They discuss how clients are increasingly valuing pieces that serve both functional and aesthetic purposes. The dialogue shifts to the importance of identifying future classics in design, the role of material innovation and sustainability, and the significance of personal touches in creating meaningful spaces. The speakers also celebrate Australian design and share personal anecdotes that highlight the journey of iconic pieces in their lives.
Keep up to date with the latest on Simone's socials:
Want the low-down on the good stuff? Sign up for the launch of Design Edit by Bree Banfield - curated pre-selected decor collections, workshops, design tours and trends. Learn more: BREE BANFIELD
If you're sitting at your desk about to send a fee proposal and you'd just like to run it by someone else first? Or have you ever had a client dilemma and it just doesn't feel right but no one you know understands (except for the dog)?
And do you wonder why you're not raking it in when you're practically living at your desk, busting your creative chops 'round the clock?
These are the things we're diving into with a small group of designers just like you. And so much more in THE CONVERSATION CIRCLE
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
thank you guys all so much for coming.
I have been looking forward tothis night for a while.
I haven't really thought aboutwhat we're going to talk about,
but we'll, we'll be fine.
So I have have thought about ita lot.
Uh, this is what I think aboutall the time, actually this kind
of thing.
But I just wanted to thank youguys so much for turning up for
us and for your support, andthank you to living edge for
(00:25):
hosting us in such a beautifulspace, surrounded by beautiful
pieces and furniture andlighting, and just for their
beautiful hospitality.
Thank you, simone, for joiningus for this fun talk, this fun
discussion.
And thanks, brie, for justbeing amazing on a daily basis.
I don't need any thanks forthat.
(00:45):
That's just who I am.
Thank you, lauren, for yeah, Idon't know.
I think it was probably you thatsaid to me hey, do you want to
do a podcast?
I can talk, why not?
I think I just sent you a textmessage and here we are.
Well, I'm very excited to beyour first launch event, first
(01:11):
live podcast.
Thank you, lily Yeggs, forhaving us, and you know what.
It's so easy finding a parkaround here after an hour.
You're not on the north side.
I thought it was a littleeasier.
Lauren and I are just going tointroduce you by talking about
how we know you, because I thinkeveryone here already knows
probably enough about you, withus going on and on about it.
(01:34):
For me, I think we probably metsort of peripherally I just made
up a word, I think when youwere starting to do styling,
before you started to go outsidethat, and we had some
conversations about how actuallythat's kind of really hard and
I don't want to do that.
I'm sorry about photographicsign which in studios and
(01:56):
organizing all that stuff, butthen I think the first time we
properly connected was, um, at adinner that Lexi Kentman would
have organised I won't say it'sanother furniture brand, so I
won't say it but do you rememberthat that dinner?
And I think we ended up sittingnext to each other and I was
just blown away by how warm youare and how much you share about
(02:16):
yourself and what you're doingand so open, which I'm very
drawn to, because, if anyoneknows me, I'm also a very
straight talker and kind ofOversharer.
Yeah, very drawn to, because ifanyone knows me, I'm also a
very straight talker and kind ofoversharer.
Yeah, what andre for saying beprepared, this is what you're in
for.
Um, yeah, so it was that whole,I don't know.
I thought I felt like we kindof clicked and connected and and
since then, you know, Icontinue to be a friend.
(02:37):
So, um, yeah, that was probablythe first time we met each
other and I don't know aboutLauren.
What's your, your experience?
I think that I might have seenyour writing on the design files
.
You were writing this reallycool little yeah, stories about
cool pieces you'd found, I don'tknow.
And then I think I met you inperson at a Great Dane event
(02:58):
years ago and I was like, oh wow, that's Moon Harg, first name
and last name.
I was like, oh wow, that'sSimone Haag, first name and last
name.
And, yeah, I just said hello toyou and you were just like
super friendly and warm and yeah, I think that was it.
And obviously, you know, seeingyour career absolutely explode
and it's just so inspiring, it'sjust so cool to see, Like, yeah
(03:20):
, honestly, it's really amazing,lauren, and I would have
definitely said over the years,let's say, um, what would simone
do, don't we?
I'm going to mind you thissituation, like, because we kind
of consider to be quite a greatum, not just an amazing, um,
creative, but also a greatbusiness person who's really
thought about you know, like notsuper strategic, but like in a
(03:42):
natural sort of way, of sort ofmanaged to kind of do very well
with that.
So we often think about whatSimone do.
I think my team, we're going todo T-shirts that say WSD, love
it.
I'll wear one of those.
There's a link in our bio tobuy those.
So, simone, can you tell us whathave you been up to lately?
Well, actually, truth be known,I've been in Stradbroke,
(04:06):
ireland, camping, for the lastfour days.
Oh, sorry, okay, first holidayfor the year comes around in
November.
What's that say?
Oh my God, yes, busy, busy.
So what's been really excitingfor me this year is working with
Capella Hotels.
So I've made the leap frombeing a primarily residential
(04:26):
decorator to the commercialspace.
So working for Capella in bothSydney and, most recently,
singapore.
There is something quitespecial about getting on that
flight as a business traveller.
But being like logisticsbusiness traveller, suddenly you
feel quite elevated, right, weonly have the business, we only
got the premium economy.
No See, I was sharing, we allthought you were in business and
(04:51):
you ruined it.
So working at Capella has beenreally exciting.
We're doing a personal build inthe mountain town of Tolley.
My husband and I oh yes, I'veseen that I'm in surprise yes,
mountain house, yes, so singleparent king, where's that at now
?
Wind up, glazing's gone in.
Okay, that's that april, april,we're looking at april.
(05:13):
That'll come around quick forsure, yes.
And so, to add on, my husband'sgoing at a glacial pace and I'm
obviously trying to, you know,negotiate lots of collaborations
and I said, darling, everyoneneeds their pound of flesh quick
hurry, before they change theirmind.
So it's a bit of an interplaybetween time construction being
(05:37):
considerate and me using mymarketing, putting a marketing
hat on.
So hopefully April that'll befinished and that'll be
available to reach.
So stay there on the Instagram.
I'm sure it looks like abeautiful area, though Lovely
Coupled with that, we were doingone of our newest residential
projects, eba in Brighton, sothat's very exciting.
(06:00):
It's a waterfront property in myteam with Toski.
So I feel like you set yourselfthese goals in terms of you
know what projects would I liketo do working on, I think this
year I've really ticked to beFoxes in relation to the scale
of the property and alsointernational, and I mean some
of the properties that I've seen, that have been published, that
(06:20):
you've done, are huge.
So for you to say that this isa big property, it must be
enormous.
Well, all those waterfront pansin brenda are quite a large
price.
What are we talking like?
How many bedrooms?
Living rooms are such a?
It's only six bedroom.
We've become a bit blase, youlike that.
(06:41):
So, um, the topic for today isclassic.
Pieces are timelessly fresh andI just wanted to talk to you
about that topic, simone,because I see that you use so
many new pieces in your projects, and I mean all of us here,
we're all interior designers.
But I I'm guessing that I'm notalone in seeing, you know,
these new images come out ofSimone's project and thinking
(07:04):
where's that sofa from, where'sthat, aren't you?
I've never seen that light,I've never seen any of these
things before.
So when you're specifying thesenew pieces, do you ever think,
oh, I wonder if this one will bea classic one day?
Well, how do you even definewhat a classic piece is?
I think when you think aboutclassic, you often think about
conserving.
(07:24):
Yes.
So for me, bringing in thoseclassic elements like how do you
put a twist on thatconservative flavour so that you
can have your own spin on it.
And I know we were chattingearlier about it, but we've just
done a barking for our house.
E gruyere, if that's how youburn out in this part cheese and
(07:48):
cheese country, okay, wholestream.
Yes, gotcha, and the client hada memes chair which they'd had
for many, many years, and eameslanta with footstool.
And is there a language warning?
This podcast?
They will be now.
So it's so funny because thehusband was adamant of using,
(08:09):
adamant to use this chair, thechaise, and of course he really
wanted it to.
But I said is there a way thatwe could just fat-move it a
little bit?
And commission was granted, andthis chair was then a repulsor
in this teal or kind of aleopard skin fabric.
Oh my God.
So we're photographing theproject in late December.
So I just said, what's that?
(08:31):
Teal and leopard sounds thebunch, isn't it?
Eames Teal of Leveux, what acombination.
So this is a reintroduced piecebecause they are classics or
because I believe they will beclassics.
They're often chosen because oftheir form.
There's budget constraints,there's palette, there's
logistics, there's the clientbriefed, and so are your
(08:54):
different things.
But in thinking about classics,I think you often realise that
they're a classic until yes.
So that's the hall of fame,isn't it?
You can't decide.
You need to go to the Hall ofFame until you're dead, so you
don't just piece a good.
If you know how it's a flashy,well, usually the design is
probably dead, maybe even in theHall of Fame somewhere.
(09:16):
But you know, that's definitely.
I think that you will get a lotof people shocked to mess with
the classic like that, um, and Ithink especially with the ings
lounge chair, like it's a piecethat you can visualize in your
mind's eye quite quickly, likeit's very um, it's not.
I don't think common's theright word.
(09:37):
I don't want to living edge.
It's kind of famous.
Yeah, that's probably a betterway for that Famous.
Yeah, it's a famous piece.
It's very well known, exactly.
But to do something like that, Iwonder if people are going to
like, troll you on Instagram.
Those Eames like purists orsomething.
Oh, the Eames purists, that's awhole cult that we need to do a
(09:57):
podcast about.
It's interesting.
I might just ignore it.
I haven't been trolled on Instayet, so let's not start now.
No, you're not.
Fatima said it.
Yeah, you haven't made it,simone.
Until you've been trolled.
This chat is over.
She hasn't been trolled.
Also, though, you're justprobably everyone's like oh,
she's so nice.
I've got nothing bad to sayabout you.
(10:19):
I'm going to start an Instagramaccount now that they're
Twitter pros oh my God.
I hope that doesn't happen nowand everyone will be like oh my
God, brie is troubling somebody.
So, yes, on one hand, these arepure pieces that are hugely
recognisable.
Any people that are a designerdon't have a design background
(10:41):
will recognise that.
That's actually probably a goodpoint, almost that's.
What makes it a kind sec is, ifyou know, we all know furniture
pieces, but if your mum or youraunt or whatever that doesn't
know anything about it goes ohyeah, I've seen that before,
probably in this movie or thisseries or something.
Fraser, I don't know.
(11:02):
They're like he'd have Eames,wouldn't he?
Oh, he's an Eames purist even.
Uh, scarpa, I have somebeautiful Scarpa dining chairs
at home, which you both, yes,joining me at my house and, um,
don't know if you recall thedining chairs, but I do.
Yes, tribal fabric Scarpa chair.
There you go, yeah, but I thinkthat's.
This is what you are probablyknown for, really that
(11:24):
reinvention of something that ismaybe a classic or a vintage
piece and making it feel freshand new, like that's literally
it.
I think furniture is there tobe enjoyed and if bringing that
fabric or bringing that flavourto it creates enjoyment, then I
think it can throw the look outthe window.
And really, don't you thinkthat was the spirit of the games
(11:47):
?
Like they innovated, they didthings that no one had ever done
before and I think they wouldbe into teal leopard print on
their eames lounger.
It's mogan as well.
Oh, sorry.
Wow, I cannot wait to see it.
Yeah, I cannot wait.
Well, I was talking, um, to lotof the low hair is behind the
lipids.
Wow, I cannot wait to see it.
I cannot wait.
(12:07):
Well, I was talking to one ofthe guys at Living Edge here and
we were talking about thatEames Lounge and it does come in
a mohair velvet as part of thesort of standard range and I
just don't think we see enoughof that.
No, we see the black leatherall day long Leather, yeah, yeah
(12:31):
, I can't wait to see them.
Sorry, sorry, um.
But actually talking about youknow whether someone's rolling
in their grave because you putteal, mohair, leopard skin
hybrid.
You have met, um, thegranddaughter, did you say?
Tell us about that.
So I was lucky enough.
I've taken two tricks to la inthe last couple of years and
some of you may, if you hold aninstagram, seen the la tour
which says there was many uh, um, weren't the extreme ashley's
people that someone asked me toknock?
(12:52):
It's not, it's not in playingyet and uh, on both occasions we
went to the case study house,the, the eames house in the big
palisades and something.
And on the last trip there wasthis woman who was touring us
around.
Her name was Lisa.
I remember chatting to Lisa andLisa was the Eames'
(13:13):
granddaughter.
That's how nice they were.
That's very nice.
It was really special to have atour from her and I think the
biggest thing that I took fromthe tour with her and still I'm
not sure if anyone's done thetour you can either do an
interior tour which costshundreds and hundreds and
hundreds of dollars and the waitis about two years, or you want
to do the exterior tour andit's literally like the new dash
(13:35):
line around the house and youconsider it's lucky.
In the, in the line at schoolcanteens, you just try to get as
close as you can.
If you can just sit back.
If you step over.
It's unsecure.
The guy dives out of here andknocks you down.
But Lisa did.
Let us at least straddle thewindow frame.
It once was inside the door.
But what was lovely when talkingto her was she really humanised
(13:59):
their design approach and forher it wasn't just the designs
and, I guess, how they wereinstructed, but it was how it
made them interact as a familyand that was a really important
part and I see it for her.
With classics, yes, we can allget an expathy about the styles
(14:19):
and names and makers, but reallyit's about creating moments and
that's what.
I've walked away, meeting her,which was such a privilege.
Yeah, like the, the actualhuman behind the design, which
we probably sometimes don'tthink about enough, do we was
sort of a look at that piece.
We think about that and we'renot thinking about what went
(14:39):
into it necessarily.
So that does very much.
I love that story and I thinkvery good.
Oh well, I was just going to sayI think that sometimes, you
know interior designers, we canfurnish homes with a lot of
iconic pieces and they arebeautiful and sometimes they can
get a little bit predictableand I think the way that you
(15:00):
have, you know, create, taken anabsolute twist on a classic
like that.
It's really refreshing.
So I would be curious to knoware there any other ways that
you have kind of messed withother classic cases?
I think that is fair in awebsite.
What do you do?
Oh, the fuck web.
(15:30):
Well, I think I've seen that.
You know upholstery.
You know you've used somepretty bold choices on the
pieces like um.
One that comes to mind is thegooby uh, what's it called?
Pasha?
Um?
Oh, yes, the fear break.
We can't edit for a bit.
I think again, it is a.
It's a beautiful piece that youhave seen a bit around, but
(15:52):
when you put a different fabricon it, you know whether it's
changing a finish or a color oreven just letting a piece mingle
with different.
Yeah, here is like it creates,you see, a classic in a new
light.
So that's really fun.
Yeah, I've gone bad, as you know, materially.
I think the trippy thing aswell is that you can't always
(16:12):
choose the custom fabric youwant, and with that killer chair
we actually had fine a chair inthe lowest possible, great
thickish.
This was the cheapest possibleone of how you did that vintage
piece it was new, it was new andthen buy the fabric and then
recover it.
So it's not always the path forleast resistance and I think
(16:33):
it's like also convincing theclient you're going to pay for
this in this fabric and then I'mgoing to rip that fabric off
and pay for it again and I feellike I'm going to pay for
another fabric which is going tobe way more expensive.
Madorza Mira, thank you verymuch.
Yeah, pierre Frey fabricsthat's a bit of a mouthful.
Pierre Frey fabrics are notknown for their affordability.
(16:59):
Another way of classics as wellthat I'm seeing a movement
toward where I'm really excitedto share is Mexican pieces.
Oh, yes, so I've been lookingalong at that lately too.
Over the last maybe two yearsI've noticed that also on the
rise, there's some greatdesigners there.
Well, I'm off to Lex's, hercity, in February, so watch this
space as I load them.
I can tighten up.
(17:19):
There was such a really goodmaker, shands.
There's a program at ours timecalled Norfolk, norfolk, norfolk
, norfolk, Norfolk I don't knowhow to say Norfolk, that sounds
like I'm a Scottish, scottish.
Let's just go back and rewindit for the broadcast.
They're the housing of acommune called Norfolk and it is
(17:44):
how, actually, you'll love it.
It has the most beautifulLachance sofa from Woody Edge.
Yes, what a great brand.
We were the first to get thissofa in that job.
Actually, he's had someone sitin the chair and you take a
video of them.
It's so funny, it's amazing.
(18:06):
You can actually tell thecomfort of a trampoline.
I'm very dear, actually,because I often I mean, we all
probably come across this wherein Australia we don't have
necessarily access to everythingin showrooms and the client
wants to sit, particularly in asofa.
They want to know what'scomfortable.
That is awesome.
It's so funny watching thevideo and they sort of settle in
and then when they sit downit's like do they bounce or do
(18:29):
they sit Watching it on slow-mo?
How much does it balance?
That'd be so funny.
So what was interesting to youis this particular chairs.
We had purchased these chairs.
They're these gorgeous Mexicanchairs.
You head to the website andlook for the Norfolk Project.
They've got a little allowanceand they're waiting at you.
And then.
So he purchased the chairs.
And then the client and sophiasaid well, you actually need to
(18:51):
have, um, an exporter's licenseto be a, and I don't know if
anyone's ever tried to exportany bean out of mexico.
No, I was like, yeah, oh, thenI would be the one.
It was honestly like theythought that I had laced the
chairs with certain substancesand, in point of fact, it takes
(19:14):
to get these chairs out of thedog to the point where we had to
end up using an art courierbecause an art courier was able
to share their exporter'slicence.
So I guess we're borrowing allthese classics that you're you
knowough, all the except theseclassics that you're you know,
swapping all these, um, thesemovements that you're hollowing.
It's never easy, never easy.
Well, I think that's whatperhaps sets you apart is that
(19:35):
you don't take the easy road.
You really, because I mean,that just blows my mind.
I'm just like, no, you're nothaving that chair.
The idea is that I had you quotethe shipping to the client at
one, at one price point, but thecourier was about 16 times the
amount and I and things.
The wife was on board, the wifewas on board with these chairs
and you know it was.
(19:55):
It was like a two-prongapproach with like saying we've
come this far, yeah, you've hadto keep going.
So I'd like to go ahead to thewebsite and enjoy those.
Oh well, I think if you guysare watching on YouTube, we will
be showing you the image,because I'm curious to see this
little chair with arms on it.
I think I know the one, but yes, yes, I'll ask you the two.
(20:15):
So I guess that's aninteresting point too and it's
slightly digressing from theclassic thing.
But if you are bringing thingsin and you're ending up paying
16 times what you quoted, itmight be six, I'm maybe let's
stick to 16.
I like the exaggeration.
Um, no, yeah, like that's.
It's got to be worth it, right?
Is there a point where you kindof go that's not worth it?
(20:39):
Well, my role as a hero dadhe's is, I think, to know when
to hold her and know when tofold her.
I think she used the words asthe late, not Kenny and
sometimes these pieces are sopivotal to your vision that you
just have to hold tight, and Ithink that's you know.
(21:00):
Looping it back to the idea ofthe classics is bringing those
elements in that, no matter whathappens with the project, these
have to be a constant and youhave to be really firm, because
it is easy for that rate to thebottom or find the cheapest, or
we can make our own version ofthat.
But I think that integrity andthe integrity of the project is
(21:22):
in maintaining the poise on itspieces that are really important
.
Yeah, that's sort of the goodpoint, I think, talking about
classic pieces as well.
I mean, I think you did sort ofcover that a bit when you said
there's sort of when you thinkof classic they kind of have a
conservative feel, but do youthink that some classic pieces
can also be a bit moredecorative and playful?
(21:44):
Certainly, many of the Memphispieces from the 80s that's my
kind of classic.
Is that your kind of classic?
What's your favourite piece?
Too hard, I kind of just loveall of the Memphis stuff, to be
honest, and it's better whenit's together too.
I mean you can take one pieceand make a real statement.
But, yes, no, I don't know, Idon't have a favourite.
I like the first chair.
(22:04):
It's that one that's kind ofgot the hoop to the back and
it's so interesting because,yeah, it could be a classic
piece.
I can see it working ininteriors now, even in a
minimalist space, but also,obviously it's from the 80s.
So don't you think it'sinteresting how classics can
come in and come out again?
Like you know, even speaking ofthe eames pieces, like I just
(22:27):
remember sort of in the 90s andthe 2000s, don't you think
that's when the eames were likereally popular?
Yeah, and I was looking atthroughout the living, true,
true, right like that, yeah, inthe mid-century when they were
designed, yeah, but I waslooking at the living edge range
and I was looking at, um, someof the herman miller, you know,
like the chrome chairs with thecane seat and back, yes, and
(22:50):
they're really having a momentnow.
I think that kind of camearound with all the vintage
pieces that were being sourcedand now it's like, okay, no,
let's go for the brand newbecause they kind of look modern
.
They look modern.
They look modern, they don'tlook vintage, but it was
designed in 1923.
I know it's crazy and Iremember them in the 80s as well
(23:12):
To show your age, I know.
I feel for me that themovement's shifting, that people
are more accepting of classicpieces as functional art.
So I think, people, there ishow to move.
Like the waist chair is verymuch like that and a lot of that
Memphis stuff would probably beconsidered to be like where it
(23:36):
crosses from art into design,into furniture pieces.
There's that little crossoveror sculptural there and it's
much easier, I feel to convincethe client to go a sculpture
that can moonlight as a chair,because I feel like it's more of
an investment, don't they?
When it's more like art andmaybe not furniture.
But sometimes you do wonder thecomfort levels of some of these
(23:59):
chairs.
Definitely not about that.
No video comes into play andthey sit down and they bounce.
Not that one.
Technically it is a chair, butit's kind of art really.
But it is easier to get overthe line, I feel.
Yeah, for sure.
Nod is probably one of myfavourites too.
We were just getting some photosout the front where the Batoia
(24:24):
if I'm saying that right, um wasone of the first chairs I ever
specified in a project.
That felt like it was a reallybig deal because they were like
these amazing iconic chairs inthis reception um, and I'll
never like it'll always be kindof a big part of like I'd love
to have those in my home and I'ma big I.
I love chrome, I also love theplatinum range and I feel like
(24:47):
that comes in and out of theeras, like it's got a 60s vibe.
I sort of think about them inthe Hollywood Regency, you know,
like early Kelly Wurstler, likeluxurious sort of look.
So it's really interesting.
It's a classic and they come inand out and they're in and out
of favour, so, yeah, it's justfun to look back as well.
That one feels quite kind oflux to me that range, and it
(25:10):
could sit next to Eames easily.
I think I wonder, when we'reHaiti and we're sitting here
doing like a reprise of hispodcast and like flossing, it's
all not going to be flossing.
Oh yeah, predicting it is tricky, but I think when it comes to
specifying for clients, I don'tfeel like that's a prerequisite
(25:32):
that has to be ticked.
I think people now are afterpieces that spark joy, that
create moments.
They're the moments.
Yeah, people are watchingpieces that perhaps hadn't been
seen as often.
So how you kind of weave inthose pieces that are
(25:52):
recognisable somewhere and yousay where the hell did you find
that?
And that's what I hate nowabout Google People can figure
out your sources.
Damn it.
It's all revealed.
And now you've revealed it onthis podcast.
I better myself, you were thefirst, for sure, and I've
(26:15):
actually used that for clients.
Like, it depends on the client.
Like some people love to knowthat the value is going to stay
with their pieces, and I knowI've said that with some pieces
designed by Patricia Okiola.
I'm like, and I've actuallysaid you know the Eames, right?
You know the Eames lounge.
It's like a classic.
I predict this is going to be aclassic, but it's of our time
(26:37):
and wouldn't you want to handthat down to your kids as a
family heirloom?
And they love that.
See, I've never been asked everin my career if something I'm
specifying for a client willappreciate.
It's not a question I'm evergoing to ask.
Well, I think it just dependson who you're speaking to and I
have to say, sometimes that doeshelp some of the husbands,
(26:59):
right, oh, what's good to say?
I know what can I say, but theywant to know that there is a
value in it that's going toretain, increase.
Who knows?
I mean, I don't know.
I feel like it's really.
It's not a real thing, we canguess, but it makes them feel
like they can agree to it,whatever gets it over the line.
Yes, I think that I feel likethe classics can be, um, yeah,
(27:27):
like an investment pace, butalso I think when you do that
mix of the classic that is newer, I think it comes down to like
the.
If you're going to try andpredict it.
Sorry, I'm getting to a point.
Um is what you said about thePatricia Archeola like I think
you can start to notice,especially if there's shifts,
(27:48):
like in trends for instance, agood bit of a breakthrough,
which was what was happeningwith, like Eames and things,
like people who are kind of likepushing the boundaries, and you
can kind of recognise that.
Hang on, this is going to beimportant.
This will be something thatpeople will think about and
maybe it will take a littlewhile and it will sit there.
But people will look back andgo that was an important moment
(28:08):
in design and they'll say butwho chose this wild upholstery?
It's just not the law of fame,it's just not.
It's interesting.
I wonder what we make pieces ofcloth, is it from a
manufacturing?
Is it new materials?
I think it's all of thesethings, as well as emerging
designers, that are kind ofmaking a bit of a statement.
(28:31):
I'm thinking now about myblouse.
It's a classic white shirt andthen you've got a little bit of
that, and I think that's thething with the high six.
I know, as we've gone around ina nice little circle, but just
how can you take something thatis so recognizable and has
seemed, you know, a staple, andjust give it a little kick, it's
(28:52):
well, it's a piece to do.
Well, yeah, the piece that Iwas sort of talking to my client
about was the bohemian sofa.
It's a moroso sofa and it'skind of like a contemporary take
on a chesterfield, so it is.
It's kind of taking somethingthat we're familiar with and
just interpreting it to suit ourlifestyle, our time and, as you
(29:12):
were saying, samoa materialityis it something innovative?
Is it something forwardthinking?
We keep talking about itbecause it's such a good example
of a classic piece in my mind,because, you know, that's got
that sense of optimism andpositivity and and it was doing
things with materials that noone had ever done before.
(29:33):
I mean, we just take mouldedplywood for granted now, but
like back then it was so new.
So, yeah, I think thatsometimes when you're thinking,
oh, this could be a classic ofour time because it sort of
follows that same idea, perhapswe might see that a little bit
with you know what's happeningwith sustainability now and
(29:53):
those new materials and howthey're being used and how
production's being kind ofimproved and might be.
You know, like I think tomdixon's done a few interesting
things with that, um, yeah, sothat I guess can come down to
brand right early brands.
One thing I've said in back tothe dean's house that I spoke of
, but when I reflect on standingthere on the cusp of the window
(30:18):
with the wonderful tower overthe other side, for me it wasn't
just the piece, but it was howthey'd laid it.
So just kind of close your eyesand come on a journey with me
of like words and runs that arelike rugs were, I guess, sort of
overlaid over one another.
There was all the furniture, aseries of blankets, all folded
(30:40):
up in a neat pile.
There was collections of rocksand found items and twine and
dried flowers, and it was justlike the pieces were there, that
it was just the way that it wasso harmonious that and I think
it's a constant little story alittle bit, but I think it's
really important that you canhave these icons, for want of a
(31:02):
better word.
But it's not till you put it onthe overlaid run or soften the
pile of killings or throw thatsheet scheme over the mat that
will dim that lamp nearer itallows when they really come
alive.
No, getting a bit passionateabout looking, oh my gosh.
No, because, like, I'm gettinggoosebumps just thinking about
it because it is.
I guess you know you can haveall those iconic pieces in a
(31:24):
room but it doesn't make theroom.
And it is those finishingtouches and what you're sort of
saying, if I'm hearing right,it's those personal touches.
I can't go to Noah Frank'sliving edge, but you don't sell
rocks, you don't sell her bitsof twine, you can't just go to
pick up that stuff from a shop.
And it's those things that arecollected over time that tell a
(31:44):
story of a well-lived life, awell-traveled life, that just
make a space just feel magic.
And there was the lohan pendant.
That was so low that you'd kickin there on it if you get
inside the door.
But that's what I'm talkingabout.
It's worth it, I think.
Uh, the other um brand that Ithink is really enjoyed is vitra
(32:05):
.
I think that there's and alsolike that's, quite a big breadth
of things in terms of um, itbeing traditionally classic but
also quite playful, like theyhave a lot of playful pieces.
But something that's, you know,been having quite a bit of a
moment is that Akari pendant.
Shelley, have you used that, aswell as some of your?
(32:25):
Well, actually, there's about16 of them in this bypass here
to bring you about.
So you're basically supportingthat brand.
The quality of life is soimportant.
Go to classics as well.
I think it's a real move howAustralian designers are in that
space and I'm so proud that somany of our design colleagues
(32:46):
and our friends are sure arefar-reaching creating.
I love Australian design and Itry to support it as much as I
can.
I'm quite passionate about itand there will definitely be
some future classics.
I think you know I talk topeople, you know when I'm
travelling for work in Milan andpeople when you say from
Australia, people literallyquote to you designers or brands
(33:12):
that they know from there.
So it's not, I know we're smalland far away, but I'm being
noticed.
I think I actually had a veryexciting invitation I'm not sure
if it's under embargo aboutcurating some pieces in Milan
next year.
Yeah, I was really excited.
I you know it's one of thoseinvitations that slip and curing
(33:34):
boxing like is this a scam?
My response was yes, yes, yes,send and grace.
So, uh, someone also reallymeshful about all together
furniture.
But you don't have to haveeveryone find our bond or pay.
You will raise your little sixand you've been just oh nice,
(33:55):
yeah, that's way more funwithout all the app moving,
without the app, and hopefullysomebody else will be dealing
with all of those import, exporttaxes or whatever.
Absolutely oh yeah, customs andviews, the hard stuff, yeah,
yeah, and that's I mean honestly.
That's also, as I said, we aresmall and far away.
That's probably one of thethings that makes it difficult
(34:17):
for us sometimes to put thoseiconic pieces into projects is
they do cost more over here andif you're trying to, you know,
bring over vintage pieces,you've kind of got to have a
container to like pick one.
You've either got to reallylove that, because it sort of
increases the value here, butnot necessarily the value of the
piece.
Right, I've got a really nicestory about a classic which just
(34:40):
popped into my head, which istimely, but, um, the soriana
sofa at my house, but in onescene, photos of one of my
slurred words yes, uh, and Ibought this sopa from a
gentleman called Don Cameron.
Does anyone know Don Cameron?
He's incredible.
He is Sydney-based, cutting histeeth, doing music videos.
(35:03):
If you don't know him, youshould look him up.
Although he has a very lo-fiprofile, like you have to really
search for him and so he hadthis amazing Soriana sopa in his
home gallery and that was bothabout his books as hard as his
home gallery.
He needs to turn over hisfurniture regularly and I think
(35:23):
I just turned up the rightplates at the right time and I
bought the whole set.
Anyway, more recently he'sactually messaged me and said
did you think I could buy that?
And my answer was 16 times theprice.
Was it a swift?
No, but more interestingly thanthat, I got a message in my DMs
(35:47):
from a man who so Don Cameronhad bought it from an auction
house, then he'd bought it intohis home gallery.
And then I bought it and I gotthis DM from actually the
grandchildren of the originalowners of the sofa in Sydney and
they've messaged me photos mysofa in their repair.
And he said and look, do youthink you'll sell it?
(36:09):
And no, sorry, oh, they tried,it would be huge it's.
And no, sorry, oh, they tried,it would be you.
It's a hard.
No, he had some pretty, it'syours now.
And that's really interestingbecause I think that you know
you had an eye for that so far,just right on the cusp of it
(36:30):
really exploding popularity,because obviously Don wasn't
that.
He wasn't in tune with it asmuch as you were.
Thank you.
(37:21):
Well, maybe they can contact youin another 10, 15 years.
How long do these start cyclesof sort of trends going?
And when you're moving on tothe next fabulous thing, you can
give them a call, maybe.
Or just go to the next fabulousthing.
You can give him a call, maybe.
Or just go to the other house.
We're just houses, we're done.
I'll talk to me about what.
(37:43):
Have you even thought about whatyou're putting into Mountain
House?
Yes, are there some clothes?
No, she hasn't thought about it.
This is the first time.
Well, actually, so the houses?
We bought land three years agoand I've been collecting pieces.
Oh, three years, yes, threeyears.
The scarper chairs with thetribal fabric will make their
(38:03):
way, actually, oh, patriciaO'Keele on the Float Stool, the
woven, no, not a lot of roomproduction, they get a bit
troubled.
Patricia O'Keele on the flowstool, the woven.
Now, in a lot of her ownproduction, they get a bit
troubled.
Yeah, how do people find those?
I see them popping up ontoprojects every now and then.
I'm like, oh, I love thosestories, oceans, they're Archie
(38:23):
and how it ends all the way.
Okay, yeah, and I suppose youknow that is interesting,
because you do seem to have thateye for something just right on
the cusp of everybody elsecottoning on to it, so it's
almost like you can identify aclassic before everyone else.
Like, how do you do that?
I think something's done withluck, but I just like there may
(38:45):
be some issues in there, but Ithink it's just a matter of
being like too kind rightthrough projects and I don't
need to hell dent on.
It's just a matter of beinglike too kind right through your
project and I don't need tohell dent on.
I think you've hit the point now, though, that maybe it started
that way, but now you putsomething in your project and
actually that will spark a trend.
Very big call for it.
There's this well, that's whathappens.
(39:06):
I think that you know peopleoften take themselves out of oh
no, we don't follow trends andwe don't blah, blah, blah.
I totally understand that, buta lot of the people that talk
about that are at the top end ofit and they're the early
adapters and they're actuallythe ones who are contributing to
what ends up being a trend, andthey may not know it, but
(39:27):
that's, I think, the point thatyou're at, whereas something
will go into your project andpeople will go, oh okay, auction
house, let's buy those.
Or maybe all the businessmen inCollins Street are going to be
wearing shirts full of tan apps.
Oh man, that I like that,especially summer.
You know, tan dimes out, I'mjust going to spin.
Oh man, do we see all theselike corporates with their
(39:51):
little white shirts, with their?
It's feeling very, is it meangirls, like you know?
Suddenly all the guys are likechopping their asses.
Does anybody have a pair ofscissors?
Oh, you can do it, lauren.
You've got the white shirt, Ijust need some scissors.
Yeah, yeah, we'll just slice it.
Sorry, we'll totally digress inthere.
(40:13):
Just a little.
We, I think we're ready to kindof wrap, but on our podcast we
finish here and then our YouTubeaccount will have bonus content
and the bonus content is alittle more personal.
thank you guys all so much for coming.
I have been looking forward tothis night for a while.
I haven't really thought aboutwhat we're going to talk about,
but we'll, we'll be fine.
So I have have thought about ita lot.
Uh, this is what I think aboutall the time, actually this kind
of thing.
But I just wanted to thank youguys so much for turning up for
us and for your support, andthank you to living edge for
(00:25):
hosting us in such a beautifulspace, surrounded by beautiful
pieces and furniture andlighting, and just for their
beautiful hospitality.
Thank you, simone, for joiningus for this fun talk, this fun
discussion.
And thanks, brie, for justbeing amazing on a daily basis.
I don't need any thanks forthat.
(00:45):
That's just who I am.
Thank you, lauren, for yeah, Idon't know.
I think it was probably you thatsaid to me hey, do you want to
do a podcast?
I can talk, why not?
I think I just sent you a textmessage and here we are.
Well, I'm very excited to beyour first launch event, first
(01:11):
live podcast.
Thank you, lily Yeggs, forhaving us, and you know what.
It's so easy finding a parkaround here after an hour.
You're not on the north side.
I thought it was a littleeasier.
Lauren and I are just going tointroduce you by talking about
how we know you, because I thinkeveryone here already knows
probably enough about you, withus going on and on about it.
(01:34):
For me, I think we probably metsort of peripherally I just made
up a word, I think when youwere starting to do styling,
before you started to go outsidethat, and we had some
conversations about how actuallythat's kind of really hard and
I don't want to do that.
I'm sorry about photographicsign which in studios and
(01:56):
organizing all that stuff, butthen I think the first time we
properly connected was, um, at adinner that Lexi Kentman would
have organised I won't say it'sanother furniture brand, so I
won't say it but do you rememberthat that dinner?
And I think we ended up sittingnext to each other and I was
just blown away by how warm youare and how much you share about
(02:16):
yourself and what you're doingand so open, which I'm very
drawn to, because, if anyoneknows me, I'm also a very
straight talker and kind ofOversharer.
Yeah, very drawn to, because ifanyone knows me, I'm also a
very straight talker and kind ofoversharer.
Yeah, what andre for saying beprepared, this is what you're in
for.
Um, yeah, so it was that whole,I don't know.
I thought I felt like we kindof clicked and connected and and
since then, you know, Icontinue to be a friend.
(02:37):
So, um, yeah, that was probablythe first time we met each
other and I don't know aboutLauren.
What's your, your experience?
I think that I might have seenyour writing on the design files
.
You were writing this reallycool little yeah, stories about
cool pieces you'd found, I don'tknow.
And then I think I met you inperson at a Great Dane event
(02:58):
years ago and I was like, oh wow, that's Moon Harg, first name
and last name.
I was like, oh wow, that'sSimone Haag, first name and last
name.
And, yeah, I just said hello toyou and you were just like
super friendly and warm and yeah, I think that was it.
And obviously, you know, seeingyour career absolutely explode
and it's just so inspiring, it'sjust so cool to see, Like, yeah
(03:20):
, honestly, it's really amazing,lauren, and I would have
definitely said over the years,let's say, um, what would simone
do, don't we?
I'm going to mind you thissituation, like, because we kind
of consider to be quite a greatum, not just an amazing, um,
creative, but also a greatbusiness person who's really
thought about you know, like notsuper strategic, but like in a
(03:42):
natural sort of way, of sort ofmanaged to kind of do very well
with that.
So we often think about whatSimone do.
I think my team, we're going todo T-shirts that say WSD, love
it.
I'll wear one of those.
There's a link in our bio tobuy those.
So, simone, can you tell us whathave you been up to lately?
Well, actually, truth be known,I've been in Stradbroke,
(04:06):
ireland, camping, for the lastfour days.
Oh, sorry, okay, first holidayfor the year comes around in
November.
What's that say?
Oh my God, yes, busy, busy.
So what's been really excitingfor me this year is working with
Capella Hotels.
So I've made the leap frombeing a primarily residential
(04:26):
decorator to the commercialspace.
So working for Capella in bothSydney and, most recently,
singapore.
There is something quitespecial about getting on that
flight as a business traveller.
But being like logisticsbusiness traveller, suddenly you
feel quite elevated, right, weonly have the business, we only
got the premium economy.
No See, I was sharing, we allthought you were in business and
(04:51):
you ruined it.
So working at Capella has beenreally exciting.
We're doing a personal build inthe mountain town of Tolley.
My husband and I oh yes, I'veseen that I'm in surprise yes,
mountain house, yes, so singleparent king, where's that at now
?
Wind up, glazing's gone in.
Okay, that's that april, april,we're looking at april.
(05:13):
That'll come around quick forsure, yes.
And so, to add on, my husband'sgoing at a glacial pace and I'm
obviously trying to, you know,negotiate lots of collaborations
and I said, darling, everyoneneeds their pound of flesh quick
hurry, before they change theirmind.
So it's a bit of an interplaybetween time construction being
(05:37):
considerate and me using mymarketing, putting a marketing
hat on.
So hopefully April that'll befinished and that'll be
available to reach.
So stay there on the Instagram.
I'm sure it looks like abeautiful area, though Lovely
Coupled with that, we were doingone of our newest residential
projects, eba in Brighton, sothat's very exciting.
(06:00):
It's a waterfront property in myteam with Toski.
So I feel like you set yourselfthese goals in terms of you
know what projects would I liketo do working on, I think this
year I've really ticked to beFoxes in relation to the scale
of the property and alsointernational, and I mean some
of the properties that I've seen, that have been published, that
(06:20):
you've done, are huge.
So for you to say that this isa big property, it must be
enormous.
Well, all those waterfront pansin brenda are quite a large
price.
What are we talking like?
How many bedrooms?
Living rooms are such a?
It's only six bedroom.
We've become a bit blase, youlike that.
(06:41):
So, um, the topic for today isclassic.
Pieces are timelessly fresh andI just wanted to talk to you
about that topic, simone,because I see that you use so
many new pieces in your projects, and I mean all of us here,
we're all interior designers.
But I I'm guessing that I'm notalone in seeing, you know,
these new images come out ofSimone's project and thinking
(07:04):
where's that sofa from, where'sthat, aren't you?
I've never seen that light,I've never seen any of these
things before.
So when you're specifying thesenew pieces, do you ever think,
oh, I wonder if this one will bea classic one day?
Well, how do you even definewhat a classic piece is?
I think when you think aboutclassic, you often think about
conserving.
(07:24):
Yes.
So for me, bringing in thoseclassic elements like how do you
put a twist on thatconservative flavour so that you
can have your own spin on it.
And I know we were chattingearlier about it, but we've just
done a barking for our house.
E gruyere, if that's how youburn out in this part cheese and
(07:48):
cheese country, okay, wholestream.
Yes, gotcha, and the client hada memes chair which they'd had
for many, many years, and eameslanta with footstool.
And is there a language warning?
This podcast?
They will be now.
So it's so funny because thehusband was adamant of using,
(08:09):
adamant to use this chair, thechaise, and of course he really
wanted it to.
But I said is there a way thatwe could just fat-move it a
little bit?
And commission was granted, andthis chair was then a repulsor
in this teal or kind of aleopard skin fabric.
Oh my God.
So we're photographing theproject in late December.
So I just said, what's that?
(08:31):
Teal and leopard sounds thebunch, isn't it?
Eames Teal of Leveux, what acombination.
So this is a reintroduced piecebecause they are classics or
because I believe they will beclassics.
They're often chosen because oftheir form.
There's budget constraints,there's palette, there's
logistics, there's the clientbriefed, and so are your
(08:54):
different things.
But in thinking about classics,I think you often realise that
they're a classic until yes.
So that's the hall of fame,isn't it?
You can't decide.
You need to go to the Hall ofFame until you're dead, so you
don't just piece a good.
If you know how it's a flashy,well, usually the design is
probably dead, maybe even in theHall of Fame somewhere.
(09:16):
But you know, that's definitely.
I think that you will get a lotof people shocked to mess with
the classic like that, um, and Ithink especially with the ings
lounge chair, like it's a piecethat you can visualize in your
mind's eye quite quickly, likeit's very um, it's not.
I don't think common's theright word.
(09:37):
I don't want to living edge.
It's kind of famous.
Yeah, that's probably a betterway for that Famous.
Yeah, it's a famous piece.
It's very well known, exactly.
But to do something like that, Iwonder if people are going to
like, troll you on Instagram.
Those Eames like purists orsomething.
Oh, the Eames purists, that's awhole cult that we need to do a
(09:57):
podcast about.
It's interesting.
I might just ignore it.
I haven't been trolled on Instayet, so let's not start now.
No, you're not.
Fatima said it.
Yeah, you haven't made it,simone.
Until you've been trolled.
This chat is over.
She hasn't been trolled.
Also, though, you're justprobably everyone's like oh,
she's so nice.
I've got nothing bad to sayabout you.
(10:19):
I'm going to start an Instagramaccount now that they're
Twitter pros oh my God.
I hope that doesn't happen nowand everyone will be like oh my
God, brie is troubling somebody.
So, yes, on one hand, these arepure pieces that are hugely
recognisable.
Any people that are a designerdon't have a design background
(10:41):
will recognise that.
That's actually probably a goodpoint, almost that's.
What makes it a kind sec is, ifyou know, we all know furniture
pieces, but if your mum or youraunt or whatever that doesn't
know anything about it goes ohyeah, I've seen that before,
probably in this movie or thisseries or something.
Fraser, I don't know.
(11:02):
They're like he'd have Eames,wouldn't he?
Oh, he's an Eames purist even.
Uh, scarpa, I have somebeautiful Scarpa dining chairs
at home, which you both, yes,joining me at my house and, um,
don't know if you recall thedining chairs, but I do.
Yes, tribal fabric Scarpa chair.
There you go, yeah, but I thinkthat's.
This is what you are probablyknown for, really that
(11:24):
reinvention of something that ismaybe a classic or a vintage
piece and making it feel freshand new, like that's literally
it.
I think furniture is there tobe enjoyed and if bringing that
fabric or bringing that flavourto it creates enjoyment, then I
think it can throw the look outthe window.
And really, don't you thinkthat was the spirit of the games
(11:47):
?
Like they innovated, they didthings that no one had ever done
before and I think they wouldbe into teal leopard print on
their eames lounger.
It's mogan as well.
Oh, sorry.
Wow, I cannot wait to see it.
Yeah, I cannot wait.
Well, I was talking, um, to lotof the low hair is behind the
lipids.
Wow, I cannot wait to see it.
I cannot wait.
(12:07):
Well, I was talking to one ofthe guys at Living Edge here and
we were talking about thatEames Lounge and it does come in
a mohair velvet as part of thesort of standard range and I
just don't think we see enoughof that.
No, we see the black leatherall day long Leather, yeah, yeah
(12:31):
, I can't wait to see them.
Sorry, sorry, um.
But actually talking about youknow whether someone's rolling
in their grave because you putteal, mohair, leopard skin
hybrid.
You have met, um, thegranddaughter, did you say?
Tell us about that.
So I was lucky enough.
I've taken two tricks to la inthe last couple of years and
some of you may, if you hold aninstagram, seen the la tour
which says there was many uh, um, weren't the extreme ashley's
people that someone asked me toknock?
(12:52):
It's not, it's not in playingyet and uh, on both occasions we
went to the case study house,the, the eames house in the big
palisades and something.
And on the last trip there wasthis woman who was touring us
around.
Her name was Lisa.
I remember chatting to Lisa andLisa was the Eames'
(13:13):
granddaughter.
That's how nice they were.
That's very nice.
It was really special to have atour from her and I think the
biggest thing that I took fromthe tour with her and still I'm
not sure if anyone's done thetour you can either do an
interior tour which costshundreds and hundreds and
hundreds of dollars and the waitis about two years, or you want
to do the exterior tour andit's literally like the new dash
(13:35):
line around the house and youconsider it's lucky.
In the, in the line at schoolcanteens, you just try to get as
close as you can.
If you can just sit back.
If you step over.
It's unsecure.
The guy dives out of here andknocks you down.
But Lisa did.
Let us at least straddle thewindow frame.
It once was inside the door.
But what was lovely when talkingto her was she really humanised
(13:59):
their design approach and forher it wasn't just the designs
and, I guess, how they wereinstructed, but it was how it
made them interact as a familyand that was a really important
part and I see it for her.
With classics, yes, we can allget an expathy about the styles
(14:19):
and names and makers, but reallyit's about creating moments and
that's what.
I've walked away, meeting her,which was such a privilege.
Yeah, like the, the actualhuman behind the design, which
we probably sometimes don'tthink about enough, do we was
sort of a look at that piece.
We think about that and we'renot thinking about what went
(14:39):
into it necessarily.
So that does very much.
I love that story and I thinkvery good.
Oh well, I was just going to sayI think that sometimes, you
know interior designers, we canfurnish homes with a lot of
iconic pieces and they arebeautiful and sometimes they can
get a little bit predictableand I think the way that you
(15:00):
have, you know, create, taken anabsolute twist on a classic
like that.
It's really refreshing.
So I would be curious to knoware there any other ways that
you have kind of messed withother classic cases?
I think that is fair in awebsite.
What do you do?
Oh, the fuck web.
(15:30):
Well, I think I've seen that.
You know upholstery.
You know you've used somepretty bold choices on the
pieces like um.
One that comes to mind is thegooby uh, what's it called?
Pasha?
Um?
Oh, yes, the fear break.
We can't edit for a bit.
I think again, it is a.
It's a beautiful piece that youhave seen a bit around, but
(15:52):
when you put a different fabricon it, you know whether it's
changing a finish or a color oreven just letting a piece mingle
with different.
Yeah, here is like it creates,you see, a classic in a new
light.
So that's really fun.
Yeah, I've gone bad, as you know, materially.
I think the trippy thing aswell is that you can't always
(16:12):
choose the custom fabric youwant, and with that killer chair
we actually had fine a chair inthe lowest possible, great
thickish.
This was the cheapest possibleone of how you did that vintage
piece it was new, it was new andthen buy the fabric and then
recover it.
So it's not always the path forleast resistance and I think
(16:33):
it's like also convincing theclient you're going to pay for
this in this fabric and then I'mgoing to rip that fabric off
and pay for it again and I feellike I'm going to pay for
another fabric which is going tobe way more expensive.
Madorza Mira, thank you verymuch.
Yeah, pierre Frey fabricsthat's a bit of a mouthful.
Pierre Frey fabrics are notknown for their affordability.
(16:59):
Another way of classics as wellthat I'm seeing a movement
toward where I'm really excitedto share is Mexican pieces.
Oh, yes, so I've been lookingalong at that lately too.
Over the last maybe two yearsI've noticed that also on the
rise, there's some greatdesigners there.
Well, I'm off to Lex's, hercity, in February, so watch this
space as I load them.
I can tighten up.
(17:19):
There was such a really goodmaker, shands.
There's a program at ours timecalled Norfolk, norfolk, norfolk
, norfolk, Norfolk I don't knowhow to say Norfolk, that sounds
like I'm a Scottish, scottish.
Let's just go back and rewindit for the broadcast.
They're the housing of acommune called Norfolk and it is
(17:44):
how, actually, you'll love it.
It has the most beautifulLachance sofa from Woody Edge.
Yes, what a great brand.
We were the first to get thissofa in that job.
Actually, he's had someone sitin the chair and you take a
video of them.
It's so funny, it's amazing.
(18:06):
You can actually tell thecomfort of a trampoline.
I'm very dear, actually,because I often I mean, we all
probably come across this wherein Australia we don't have
necessarily access to everythingin showrooms and the client
wants to sit, particularly in asofa.
They want to know what'scomfortable.
That is awesome.
It's so funny watching thevideo and they sort of settle in
and then when they sit downit's like do they bounce or do
(18:29):
they sit Watching it on slow-mo?
How much does it balance?
That'd be so funny.
So what was interesting to youis this particular chairs.
We had purchased these chairs.
They're these gorgeous Mexicanchairs.
You head to the website andlook for the Norfolk Project.
They've got a little allowanceand they're waiting at you.
And then.
So he purchased the chairs.
And then the client and sophiasaid well, you actually need to
(18:51):
have, um, an exporter's licenseto be a, and I don't know if
anyone's ever tried to exportany bean out of mexico.
No, I was like, yeah, oh, thenI would be the one.
It was honestly like theythought that I had laced the
chairs with certain substancesand, in point of fact, it takes
(19:14):
to get these chairs out of thedog to the point where we had to
end up using an art courierbecause an art courier was able
to share their exporter'slicence.
So I guess we're borrowing allthese classics that you're you
knowough, all the except theseclassics that you're you know,
swapping all these, um, thesemovements that you're hollowing.
It's never easy, never easy.
Well, I think that's whatperhaps sets you apart is that
(19:35):
you don't take the easy road.
You really, because I mean,that just blows my mind.
I'm just like, no, you're nothaving that chair.
The idea is that I had you quotethe shipping to the client at
one, at one price point, but thecourier was about 16 times the
amount and I and things.
The wife was on board, the wifewas on board with these chairs
and you know it was.
(19:55):
It was like a two-prongapproach with like saying we've
come this far, yeah, you've hadto keep going.
So I'd like to go ahead to thewebsite and enjoy those.
Oh well, I think if you guysare watching on YouTube, we will
be showing you the image,because I'm curious to see this
little chair with arms on it.
I think I know the one, but yes, yes, I'll ask you the two.
(20:15):
So I guess that's aninteresting point too and it's
slightly digressing from theclassic thing.
But if you are bringing thingsin and you're ending up paying
16 times what you quoted, itmight be six, I'm maybe let's
stick to 16.
I like the exaggeration.
Um, no, yeah, like that's.
It's got to be worth it, right?
Is there a point where you kindof go that's not worth it?
(20:39):
Well, my role as a hero dadhe's is, I think, to know when
to hold her and know when tofold her.
I think she used the words asthe late, not Kenny and
sometimes these pieces are sopivotal to your vision that you
just have to hold tight, and Ithink that's you know.
(21:00):
Looping it back to the idea ofthe classics is bringing those
elements in that, no matter whathappens with the project, these
have to be a constant and youhave to be really firm, because
it is easy for that rate to thebottom or find the cheapest, or
we can make our own version ofthat.
But I think that integrity andthe integrity of the project is
(21:22):
in maintaining the poise on itspieces that are really important
.
Yeah, that's sort of the goodpoint, I think, talking about
classic pieces as well.
I mean, I think you did sort ofcover that a bit when you said
there's sort of when you thinkof classic they kind of have a
conservative feel, but do youthink that some classic pieces
can also be a bit moredecorative and playful?
(21:44):
Certainly, many of the Memphispieces from the 80s that's my
kind of classic.
Is that your kind of classic?
What's your favourite piece?
Too hard, I kind of just loveall of the Memphis stuff, to be
honest, and it's better whenit's together too.
I mean you can take one pieceand make a real statement.
But, yes, no, I don't know, Idon't have a favourite.
I like the first chair.
(22:04):
It's that one that's kind ofgot the hoop to the back and
it's so interesting because,yeah, it could be a classic
piece.
I can see it working ininteriors now, even in a
minimalist space, but also,obviously it's from the 80s.
So don't you think it'sinteresting how classics can
come in and come out again?
Like you know, even speaking ofthe eames pieces, like I just
(22:27):
remember sort of in the 90s andthe 2000s, don't you think
that's when the eames were likereally popular?
Yeah, and I was looking atthroughout the living, true,
true, right like that, yeah, inthe mid-century when they were
designed, yeah, but I waslooking at the living edge range
and I was looking at, um, someof the herman miller, you know,
like the chrome chairs with thecane seat and back, yes, and
(22:50):
they're really having a momentnow.
I think that kind of camearound with all the vintage
pieces that were being sourcedand now it's like, okay, no,
let's go for the brand newbecause they kind of look modern
.
They look modern.
They look modern, they don'tlook vintage, but it was
designed in 1923.
I know it's crazy and Iremember them in the 80s as well
(23:12):
To show your age, I know.
I feel for me that themovement's shifting, that people
are more accepting of classicpieces as functional art.
So I think, people, there ishow to move.
Like the waist chair is verymuch like that and a lot of that
Memphis stuff would probably beconsidered to be like where it
(23:36):
crosses from art into design,into furniture pieces.
There's that little crossoveror sculptural there and it's
much easier, I feel to convincethe client to go a sculpture
that can moonlight as a chair,because I feel like it's more of
an investment, don't they?
When it's more like art andmaybe not furniture.
But sometimes you do wonder thecomfort levels of some of these
(23:59):
chairs.
Definitely not about that.
No video comes into play andthey sit down and they bounce.
Not that one.
Technically it is a chair, butit's kind of art really.
But it is easier to get overthe line, I feel.
Yeah, for sure.
Nod is probably one of myfavourites too.
We were just getting some photosout the front where the Batoia
(24:24):
if I'm saying that right, um wasone of the first chairs I ever
specified in a project.
That felt like it was a reallybig deal because they were like
these amazing iconic chairs inthis reception um, and I'll
never like it'll always be kindof a big part of like I'd love
to have those in my home and I'ma big I.
I love chrome, I also love theplatinum range and I feel like
(24:47):
that comes in and out of theeras, like it's got a 60s vibe.
I sort of think about them inthe Hollywood Regency, you know,
like early Kelly Wurstler, likeluxurious sort of look.
So it's really interesting.
It's a classic and they come inand out and they're in and out
of favour, so, yeah, it's justfun to look back as well.
That one feels quite kind oflux to me that range, and it
(25:10):
could sit next to Eames easily.
I think I wonder, when we'reHaiti and we're sitting here
doing like a reprise of hispodcast and like flossing, it's
all not going to be flossing.
Oh yeah, predicting it is tricky, but I think when it comes to
specifying for clients, I don'tfeel like that's a prerequisite
(25:32):
that has to be ticked.
I think people now are afterpieces that spark joy, that
create moments.
They're the moments.
Yeah, people are watchingpieces that perhaps hadn't been
seen as often.
So how you kind of weave inthose pieces that are
(25:52):
recognisable somewhere and yousay where the hell did you find
that?
And that's what I hate nowabout Google People can figure
out your sources.
Damn it.
It's all revealed.
And now you've revealed it onthis podcast.
I better myself, you were thefirst, for sure, and I've
(26:15):
actually used that for clients.
Like, it depends on the client.
Like some people love to knowthat the value is going to stay
with their pieces, and I knowI've said that with some pieces
designed by Patricia Okiola.
I'm like, and I've actuallysaid you know the Eames, right?
You know the Eames lounge.
It's like a classic.
I predict this is going to be aclassic, but it's of our time
(26:37):
and wouldn't you want to handthat down to your kids as a
family heirloom?
And they love that.
See, I've never been asked everin my career if something I'm
specifying for a client willappreciate.
It's not a question I'm evergoing to ask.
Well, I think it just dependson who you're speaking to and I
have to say, sometimes that doeshelp some of the husbands,
(26:59):
right, oh, what's good to say?
I know what can I say, but theywant to know that there is a
value in it that's going toretain, increase.
Who knows?
I mean, I don't know.
I feel like it's really.
It's not a real thing, we canguess, but it makes them feel
like they can agree to it,whatever gets it over the line.
Yes, I think that I feel likethe classics can be, um, yeah,
(27:27):
like an investment pace, butalso I think when you do that
mix of the classic that is newer, I think it comes down to like
the.
If you're going to try andpredict it.
Sorry, I'm getting to a point.
Um is what you said about thePatricia Archeola like I think
you can start to notice,especially if there's shifts,
(27:48):
like in trends for instance, agood bit of a breakthrough,
which was what was happeningwith, like Eames and things,
like people who are kind of likepushing the boundaries, and you
can kind of recognise that.
Hang on, this is going to beimportant.
This will be something thatpeople will think about and
maybe it will take a littlewhile and it will sit there.
But people will look back andgo that was an important moment
(28:08):
in design and they'll say butwho chose this wild upholstery?
It's just not the law of fame,it's just not.
It's interesting.
I wonder what we make pieces ofcloth, is it from a
manufacturing?
Is it new materials?
I think it's all of thesethings, as well as emerging
designers, that are kind ofmaking a bit of a statement.
(28:31):
I'm thinking now about myblouse.
It's a classic white shirt andthen you've got a little bit of
that, and I think that's thething with the high six.
I know, as we've gone around ina nice little circle, but just
how can you take something thatis so recognizable and has
seemed, you know, a staple, andjust give it a little kick, it's
(28:52):
well, it's a piece to do.
Well, yeah, the piece that Iwas sort of talking to my client
about was the bohemian sofa.
It's a moroso sofa and it'skind of like a contemporary take
on a chesterfield, so it is.
It's kind of taking somethingthat we're familiar with and
just interpreting it to suit ourlifestyle, our time and, as you
(29:12):
were saying, samoa materialityis it something innovative?
Is it something forwardthinking?
We keep talking about itbecause it's such a good example
of a classic piece in my mind,because, you know, that's got
that sense of optimism andpositivity and and it was doing
things with materials that noone had ever done before.
(29:33):
I mean, we just take mouldedplywood for granted now, but
like back then it was so new.
So, yeah, I think thatsometimes when you're thinking,
oh, this could be a classic ofour time because it sort of
follows that same idea, perhapswe might see that a little bit
with you know what's happeningwith sustainability now and
(29:53):
those new materials and howthey're being used and how
production's being kind ofimproved and might be.
You know, like I think tomdixon's done a few interesting
things with that, um, yeah, sothat I guess can come down to
brand right early brands.
One thing I've said in back tothe dean's house that I spoke of
, but when I reflect on standingthere on the cusp of the window
(30:18):
with the wonderful tower overthe other side, for me it wasn't
just the piece, but it was howthey'd laid it.
So just kind of close your eyesand come on a journey with me
of like words and runs that arelike rugs were, I guess, sort of
overlaid over one another.
There was all the furniture, aseries of blankets, all folded
(30:40):
up in a neat pile.
There was collections of rocksand found items and twine and
dried flowers, and it was justlike the pieces were there, that
it was just the way that it wasso harmonious that and I think
it's a constant little story alittle bit, but I think it's
really important that you canhave these icons, for want of a
(31:02):
better word.
But it's not till you put it onthe overlaid run or soften the
pile of killings or throw thatsheet scheme over the mat that
will dim that lamp nearer itallows when they really come
alive.
No, getting a bit passionateabout looking, oh my gosh.
No, because, like, I'm gettinggoosebumps just thinking about
it because it is.
I guess you know you can haveall those iconic pieces in a
(31:24):
room but it doesn't make theroom.
And it is those finishingtouches and what you're sort of
saying, if I'm hearing right,it's those personal touches.
I can't go to Noah Frank'sliving edge, but you don't sell
rocks, you don't sell her bitsof twine, you can't just go to
pick up that stuff from a shop.
And it's those things that arecollected over time that tell a
(31:44):
story of a well-lived life, awell-traveled life, that just
make a space just feel magic.
And there was the lohan pendant.
That was so low that you'd kickin there on it if you get
inside the door.
But that's what I'm talkingabout.
It's worth it, I think.
Uh, the other um brand that Ithink is really enjoyed is vitra
(32:05):
.
I think that there's and alsolike that's, quite a big breadth
of things in terms of um, itbeing traditionally classic but
also quite playful, like theyhave a lot of playful pieces.
But something that's, you know,been having quite a bit of a
moment is that Akari pendant.
Shelley, have you used that, aswell as some of your?
(32:25):
Well, actually, there's about16 of them in this bypass here
to bring you about.
So you're basically supportingthat brand.
The quality of life is soimportant.
Go to classics as well.
I think it's a real move howAustralian designers are in that
space and I'm so proud that somany of our design colleagues
(32:46):
and our friends are sure arefar-reaching creating.
I love Australian design and Itry to support it as much as I
can.
I'm quite passionate about itand there will definitely be
some future classics.
I think you know I talk topeople, you know when I'm
travelling for work in Milan andpeople when you say from
Australia, people literallyquote to you designers or brands
(33:12):
that they know from there.
So it's not, I know we're smalland far away, but I'm being
noticed.
I think I actually had a veryexciting invitation I'm not sure
if it's under embargo aboutcurating some pieces in Milan
next year.
Yeah, I was really excited.
I you know it's one of thoseinvitations that slip and curing
(33:34):
boxing like is this a scam?
My response was yes, yes, yes,send and grace.
So, uh, someone also reallymeshful about all together
furniture.
But you don't have to haveeveryone find our bond or pay.
You will raise your little sixand you've been just oh nice,
(33:55):
yeah, that's way more funwithout all the app moving,
without the app, and hopefullysomebody else will be dealing
with all of those import, exporttaxes or whatever.
Absolutely oh yeah, customs andviews, the hard stuff, yeah,
yeah, and that's I mean honestly.
That's also, as I said, we aresmall and far away.
That's probably one of thethings that makes it difficult
(34:17):
for us sometimes to put thoseiconic pieces into projects is
they do cost more over here andif you're trying to, you know,
bring over vintage pieces,you've kind of got to have a
container to like pick one.
You've either got to reallylove that, because it sort of
increases the value here, butnot necessarily the value of the
piece.
Right, I've got a really nicestory about a classic which just
(34:40):
popped into my head, which istimely, but, um, the soriana
sofa at my house, but in onescene, photos of one of my
slurred words yes, uh, and Ibought this sopa from a
gentleman called Don Cameron.
Does anyone know Don Cameron?
He's incredible.
He is Sydney-based, cutting histeeth, doing music videos.
(35:03):
If you don't know him, youshould look him up.
Although he has a very lo-fiprofile, like you have to really
search for him and so he hadthis amazing Soriana sopa in his
home gallery and that was bothabout his books as hard as his
home gallery.
He needs to turn over hisfurniture regularly and I think
(35:23):
I just turned up the rightplates at the right time and I
bought the whole set.
Anyway, more recently he'sactually messaged me and said
did you think I could buy that?
And my answer was 16 times theprice.
Was it a swift?
No, but more interestingly thanthat, I got a message in my DMs
(35:47):
from a man who so Don Cameronhad bought it from an auction
house, then he'd bought it intohis home gallery.
And then I bought it and I gotthis DM from actually the
grandchildren of the originalowners of the sofa in Sydney and
they've messaged me photos mysofa in their repair.
And he said and look, do youthink you'll sell it?
(36:09):
And no, sorry, oh, they tried,it would be huge it's.
And no, sorry, oh, they tried,it would be you.
It's a hard.
No, he had some pretty, it'syours now.
And that's really interestingbecause I think that you know
you had an eye for that so far,just right on the cusp of it
(36:30):
really exploding popularity,because obviously Don wasn't
that.
He wasn't in tune with it asmuch as you were.
Thank you.
(37:21):
Well, maybe they can contact youin another 10, 15 years.
How long do these start cyclesof sort of trends going?
And when you're moving on tothe next fabulous thing, you can
give them a call, maybe.
Or just go to the next fabulousthing.
You can give him a call, maybe.
Or just go to the other house.
We're just houses, we're done.
I'll talk to me about what.
(37:43):
Have you even thought about whatyou're putting into Mountain
House?
Yes, are there some clothes?
No, she hasn't thought about it.
This is the first time.
Well, actually, so the houses?
We bought land three years agoand I've been collecting pieces.
Oh, three years, yes, threeyears.
The scarper chairs with thetribal fabric will make their
(38:03):
way, actually, oh, patriciaO'Keele on the Float Stool, the
woven, no, not a lot of roomproduction, they get a bit
troubled.
Patricia O'Keele on the flowstool, the woven.
Now, in a lot of her ownproduction, they get a bit
troubled.
Yeah, how do people find those?
I see them popping up ontoprojects every now and then.
I'm like, oh, I love thosestories, oceans, they're Archie
(38:23):
and how it ends all the way.
Okay, yeah, and I suppose youknow that is interesting,
because you do seem to have thateye for something just right on
the cusp of everybody elsecottoning on to it, so it's
almost like you can identify aclassic before everyone else.
Like, how do you do that?
I think something's done withluck, but I just like there may
(38:45):
be some issues in there, but Ithink it's just a matter of
being like too kind rightthrough projects and I don't
need to hell dent on.
It's just a matter of beinglike too kind right through your
project and I don't need tohell dent on.
I think you've hit the point now, though, that maybe it started
that way, but now you putsomething in your project and
actually that will spark a trend.
Very big call for it.
There's this well, that's whathappens.
(39:06):
I think that you know peopleoften take themselves out of oh
no, we don't follow trends andwe don't blah, blah, blah.
I totally understand that, buta lot of the people that talk
about that are at the top end ofit and they're the early
adapters and they're actuallythe ones who are contributing to
what ends up being a trend, andthey may not know it, but
(39:27):
that's, I think, the point thatyou're at, whereas something
will go into your project andpeople will go, oh okay, auction
house, let's buy those.
Or maybe all the businessmen inCollins Street are going to be
wearing shirts full of tan apps.
Oh man, that I like that,especially summer.
You know, tan dimes out, I'mjust going to spin.
Oh man, do we see all theselike corporates with their
(39:51):
little white shirts, with their?
It's feeling very, is it meangirls, like you know?
Suddenly all the guys are likechopping their asses.
Does anybody have a pair ofscissors?
Oh, you can do it, lauren.
You've got the white shirt, Ijust need some scissors.
Yeah, yeah, we'll just slice it.
Sorry, we'll totally digress inthere.
(40:13):
Just a little.
We, I think we're ready to kindof wrap, but on our podcast we
finish here and then our YouTubeaccount will have bonus content
and the bonus content is alittle more personal.
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