August 27, 2025 • 47 mins
Ever noticed how certain design elements grab your attention and refuse to let go? In this delightfully candid episode, Lauren and Bree dive into their current design obsessions, sharing the colours, objects, and details that are making their creative hearts race.
The conversation kicks off with exciting news about their upcoming design tour to Paris and Milan, where they'll be leading a group of design-minded individuals through exclusive apartment tours and unforgettable experiences. With only a few spots remaining, this intimate journey promises to forge lasting connections among participants who share a passion for exceptional design.
As they explore their favourite things, Bree reveals her current colour crush – a specific yellowy-green reminiscent of banana leaves that pairs beautifully with burgundy accents. Lauren swoons over Herman Miller's Comma Chair designed by Michael Anastassiades, describing how its perfect circular seat and embracing curves achieve that rare balance of sculptural elegance and genuine comfort.
Both designers share their admiration for exceptional ceramics, from Astrid Salomon's bulbous vessels to Patricia Urquiola's architectural Batossi pieces with their tactile glazes. The conversation flows naturally to practical elements that elevate everyday living – Sussex Taps with their beautiful tumbled brass finishes and sustainability credentials, innovative lighting designs from Marlo Lyda, to the transformative power of patterned flooring.
In a charming detour, they confess their fragrance obsessions, including a mystery scent that had Bree surreptitiously snapping photos in Milan. Their enthusiasm is infectious as they discuss these sensory elements that contribute to truly memorable spaces.
What design elements are you currently obsessed with? Share your favourites with Lauren and Bree – they'd love to hear what's capturing your imagination right now.
Thinking about joining Bree & Lauren in Milan 2026?
Jump onto our wait lists below & be the first to know when all these amazing tours are happening!
Paris + Milan Tour 2026 Waitlist link
https://designanatomytour.wixsite.com/ciao-milan
Bree is now offering a 90-minute online design consult to help you tackle key challenges like colour selection, furniture curation, layout, and styling. Get tailored one-on-one advice and a detailed follow-up report with actionable recommendations—all without a full-service commitment.
Bookings now open - Book now
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Welcome to Design Anatomy, the interior design
podcast hosted by friends andfellow designers.
Speaker 2 (00:06):
Me, Lauren Lee and me , brie Banfield, with some
amazing guest appearances alongthe way.
Speaker 1 (00:12):
We're here to break down everything from current
trends to timeless style.
Speaker 2 (00:15):
With a shared passion for joyful, colour-filled and
lived-in spaces.
We're excited to share ourinsights and inspiration with
you, and we are going to talkabout what we're loving right
now, our top five or I don'teven know if we can say top five
, because there's too many andI've just chosen five.
Speaker 1 (00:33):
Exactly all day long To try and narrow it down.
There's too many things.
Speaker 2 (00:39):
But before we jump into that, Lauren, what have we
got happening next year?
That's big.
Speaker 1 (00:46):
Oh my God, it's actually starting to sink in now
that we're going to do it again.
We're going to Paris and Milanand we are taking some legends
with us.
I'm so excited because we'vegot some really cool women on
the list a few that I've metbefore and a few that I haven't.
Just really gorgeous, generous,clever women that are in the
(01:08):
design realm, designers or sortof design adjacent.
But we do have a few spots left.
Speaker 2 (01:14):
We do and I'm excited that we've got as many as we do
because we know it's definitelyhappening.
But those last couple of spotsspots we're about to start,
basically, you know, screamingabout it on social media.
So if you, listening to thistoday, do want to be involved,
please send us a message.
We'll send you the information,because I think once we start
(01:37):
talking about it, those lastcouple of spots are going to get
snapped up very quickly so true.
Speaker 1 (01:42):
Yeah, you know it was just so great.
I was looking through somephotos and thinking about, you
know, the experiences that wehad.
It was just the best and thosekind of exclusive, you know
apartment tours.
I think that was probably thething that everybody loved the
most, because it's justsomething that you can't
experience if you go over thereby yourself.
Speaker 2 (02:00):
Yeah, and I think the other thing that we've talked
about and if you want to listento a little bit about the tour
and what we got up to, there isan episode that we recorded that
sort of gives you a bit of aninsight into what's involved.
But one of the other big thingsthat you cannot get when you
just hop over there on your ownis the experience of the people
on the tour with you and makingthose connections with amazing
(02:24):
design-minded whether they'redesigners or design adjacent
people who you know you don'toften get to spend that much
time with, particularly inamazing places.
So you sort of have this bondthat's created.
I think you know friendshipsfor life.
It was so cool, that's nice.
Speaker 1 (02:42):
It was really nice.
I mean, it's weird, one of thememories that sort of just
popped into my mind then whenyou were saying that I think it
was the last day people werestarting to.
You know, it was the day afterour tour had finished and we
were just kind of wanderingaround.
I was exhausted I think we allwere and one of the ladies in
the tour in our group chat saidoh, we're meeting for a drink
(03:03):
and we're just sitting outsidein this kind of court.
Yeah, do you want to join us?
And it happened to be justaround the corner from where we
were and it was just such a nicemoment of being able to catch
up with people that you know wesat under a tree in the sun and
we drank Aperol Spritz Like itwas just really relaxing and it
was just beautiful, so that wasa really nice little farewell
moment.
that was unplanned.
(03:24):
Well, I guess we could gasbagabout our tour forever, but
let's talk about our topic today.
So yeah, as you said, I thinkthat was a great idea that you
had Brie to talk about some fivefavorite things that we're just
loving right now, because it'sthe kind of thing that we're
like, hey, look at this, this iscool, and you want to share
those with other people.
(03:44):
So do you want to go first,Brie?
Speaker 2 (03:50):
What kind of things have just popped into your mind
that you're loving right now.
Well, because after I went,let's just do that.
I went oh God, how do I decide?
So I tried to kind of come upwith little categories, and so
my first one, probably quiteobvious, is a color that I'm
loving right now we're shockedprobably quite obvious is a
color I'm loving right now.
We're shocked and it's not a new.
It's not a.
It's not a new color.
(04:10):
I guess it's just somethingthat I've been seeing a little
bit of, or maybe it's that thingof you know how you go.
I've been seeing this a lot,but sometimes you're just
noticing it more because you'rejust particularly attracted to
that at the time.
Yeah and I even have that.
I guess I have some clothes inthis color as well and I don't
know, maybe it's just popping upa little bit more in some
textiles.
I saw a couple of side tables,but it's a green, so it's a very
(04:35):
yellow based green.
I wouldn't say it's puce.
Puce is like really quite likevomity, isn't it?
Speaker 1 (04:42):
God, that's so funny.
Speaker 2 (04:44):
Vomity.
Quite like vomity, isn't it?
Oh, that's so funny, vomity.
Oh, hues can be quite full-on,whereas this is a bit softer,
but it's not.
I would say it's like a, um,like a banana leaf green.
You know, banana leaves quiteyellowy um tone and I've got a
couple of examples, like Duluxcolor examples, so you guys can
(05:04):
reference it.
Speaker 1 (05:05):
Yeah, I'm curious.
Speaker 2 (05:06):
Probably one of the most, I guess, popular ones in
that realm of green is Rodham,which is R-O-D-H-A-M, but I
particularly like Rickrack,dulux Rickrack, which is just
got.
Yeah, it's just that sort of Idon't know, it's like it's fresh
but it's not too zesty that itcouldn't use it on a piece of
furniture or upholstery, andthen you can kind of go a bit
(05:29):
further with it.
So for me you could go a littlebit zestier.
I like that.
So go further into that sort ofreally yellowy, more citrusy
green, almost a lime, but moreyellow, like a lime that's still
on the tree and is starting togo yellow in that color.
Speaker 1 (05:45):
I love the specificity.
Speaker 2 (05:46):
I miss my lime tree.
And the other one that I reallylike at the moment is Olive
Reserve, deluxe Olive Reserve,so that's a little bit cleaner,
but they're these grains thatlook amazing with Burgundy you
would have seen that combination.
We started to see it, I think,last year at Milan, when Gucci
did it with that sort of reallylime kind of green carpet and
(06:09):
then burgundy furniture in theirinstallation and everyone was
like what is this that pops?
Yeah, neutral room, and you'vegot some, you know, sort of
green based browns or tans, thatas a hit of color in a side
(06:30):
table, even a cushion, anupholstered chair, and then with
some red.
I like it with a little bit ofred and maybe a little bit more
green.
So you could take, like, put itwith all, so you could have
like this beautiful neutralscheme that's like olive, greens
, browns, with, you know, like alittle green undertone and then
tan, and it could be quiet,calm and neutral.
And then you can add that greenin and it just lifts the whole
(06:53):
scheme but it still keeps itquite neutral and still quite
calming, like it doesn't make itcrazy.
And if you want to take it tothe next level, then that's when
you can add the red as well.
Speaker 1 (07:03):
Oh, I love that picture that you've just painted
, when you were describing thatzesty green.
Remember when we went to theZanotta showroom in Milan?
Yes, yes, that was probablyquite electric, that green.
It's taking it really to thenext level.
But it's a showroom like it's,not a home.
Speaker 2 (07:20):
Yes, yeah, yeah, and I think you know, I think I I
would do it in a whole room, onall walls, in a space where you
want to feel sort of energized.
I don't know that I'd do it ina.
I think you could do it in abedroom, it's just.
It's one of those colors thatthe tiniest nuance can take it
from being wow, this feels greatto oh, this is a lot kind of
thing.
So it's like just the nuance ofhow much kind of yellow is in
(07:42):
it and how clean it is.
But you know, making it alittle bit dirtier, you could
totally do a whole room in itand it would be quite beautiful,
like almost luxury.
It can be quite a luxury colour, I think if you take it into
that sort of dirtier space.
Speaker 1 (07:56):
Yeah.
Yeah, I just looked up olivereserve.
Yeah, that's a beautiful colourtoo.
Yeah, and I can see how youcould pair it nicely with the
tans and the more neutrals, justto kind of calm it a bit and
yeah bring it into that moreluxury.
But then you could have, youknow, a side table with a
burgundy or, as you say, likered or something and it could
just be that little accent, it'sjust that little hint of that
(08:18):
unexpected and the contrast,that bit of tension, could just
make it feel really exciting.
Yeah, I'm loving it, lovingthat, love that.
Thanks for sharing that, noworries.
I wanted to talk about thischair that I have been coveting.
It's called the Comma Chair andit's by Herman Miller.
(08:41):
It's a dining chair and it'sjust very elegant in the form.
It's a sculptural sort of chair, but it doesn't look like it's
going to be uncomfortable to siton, which, I feel like, is a
really clever balance to getthat right.
So it's made up of, you know, aframe, obviously four legs, and
on top sits a round, perfectlyround seat and then it's got a
rounded backrest and armrest,that sort of.
You know they're reallycomfortable when they sort of
(09:03):
hug you around your body whenyou sit in them.
But it's so simple, but it'sstill quite elevated and it
makes that restraint look reallyluxurious.
And I think you know we saythat that term timeless is
overused, but I don't know whatdo you think?
I feel like it is quite atimeless chair.
Speaker 2 (09:24):
Yeah, no, I get what you mean by timeless.
I guess, when I look at it it'sshapes and forms we've seen
before, but I think the waythey've refined it and kept it
is, I guess, a simplicity to it.
Yeah, and sometimes withsimplicity it can kind of
transcend across different eras,so it can be timeless, I think.
Speaker 1 (09:44):
I think so it could be timeless.
And it's designed.
I love the colours too.
Right, the colours arebeautiful, so they have
obviously a gorgeous natural oak, but then there's this
beautiful petrol blue and anoxblood sort of red colour.
It's designed by MichaelAnastasiadis, who is a
London-based designer, and hedoes nail that quite minimalist,
(10:06):
clever design beautifully.
Speaker 2 (10:09):
He is one of my favorite designers, actually,
yeah.
Speaker 1 (10:11):
In terms of that, they're not boring, they're just
clever.
No, never yeah.
Speaker 2 (10:15):
No, he's clever.
Yeah, I love the upholsteredversion of that.
The seat looks like a cutelittle button, like with the
little it does.
It's probably got a littlebutton in the middle, but the
overall sort of shape it's gotthere it's beautiful, isn't it
yeah?
And a beautiful chest.
Speaker 1 (10:30):
And don't you think around a table that repetition
of that circular armrest wouldjust be quite pleasing to see
that repeated.
Speaker 2 (10:39):
So if you've got the budget, for Herman Miller.
Well, I'm going to jump intofurniture then as well.
Now I was showing thisyesterday so and I was like that
is very cool.
I don't know if you know theartist, stephen Baker, who I
guess his work is.
It's very sort of graphic.
It's really simple shapes, butthey're usually kind of in the
(11:01):
form of a person, so it's likeyou'll see people in the shapes
and it's very simple kind ofcolour, what?
Speaker 1 (11:07):
was the name again.
Speaker 2 (11:08):
I would say it's sort of modernist.
Stephen Baker oh cool, youwould have 100% seen it before.
So he's actually done a collabwith Ulta, which is a furniture
company, I believe, in Melbourne, and they've used those shapes
that he uses in his artwork tocreate these sun lounges.
So it's called the Lola SunLounge and at first you sort of
(11:29):
glance at it and go, oh, that'skind of cool.
But you see it from the sideand they look like women, but
not too.
It's just abstract enough thatit's quite cool without it being
a bit like tacky, like why isthat in the shape of a woman?
that's so clever, because youhave to kind of look twice a
little bit at how it works.
Yeah, they're really, they'rereally interesting.
(11:50):
And it was our my friend, kelly, who I'm sure people know,
kelly thompson, who she'sactually working with them on
something at the moment.
She said, oh, have you seenthese?
And I went I've not seen them.
So that was exciting.
You know we love a new thing.
I've not seen them, so that wasexciting.
Speaker 1 (12:04):
You know we love a new thing?
Speaker 2 (12:05):
I've not seen them either.
Yeah, I think, go have a look,everyone at those, because
they're just quite a cool,interesting collab, especially
that whole collaboration betweenan artist and a furniture maker
.
And in this particular case,the artist has taken literally
the way that they create andtheir forms and been able to
translate it into a furniturepiece, which is, I think, not
(12:25):
always the case.
Usually, the artist will maybeI don't know work on something
that's maybe reminiscent of howthey want to do a design, but
it's not normally quite asobvious as this is in terms of
the shapes.
Speaker 1 (12:38):
Anyway, yeah, but it's also I've just looked it up
as well it's also if I saw thatsun lounger, I'd be like oh,
that's really lovely the shape.
I like how that looks as a sunlounger.
You mentioned the artist andyou're like oh it doesn't hit
you in the face.
It's quite subtle.
It's really sophisticated theway it's done.
Speaker 2 (12:58):
Yeah, that's why I thought it was quite clever.
I feel like that could havebeen not so great.
It could have been not so greatLike, it could have been a bit
like, but they've just nailedthat fine line between kind of
copy paste of a shape onfurniture to actually it's
functional, it's elegant and itstill reflects his work.
So, yeah, I think they did itreally well.
Speaker 1 (13:17):
I love it.
It's a great find.
Thanks for sharing that.
I wanted to talk about someceramics that I have loved for a
while.
They're made by Astrid Salomon,her brand is called Bastard
Ceramics and her pieces aresublime.
Speaker 2 (13:37):
Bastard Ceramics.
Speaker 1 (13:39):
I know it's a funny name.
I met Astrid at an event maybea year or so ago and she was
just beautiful and lovely.
But her pieces are these big,almost bulbous ceramic.
Some of them are vessels, someof them are sculptures.
She did a wall relief I saw onher Instagram yesterday and I
(14:01):
want it.
I just want it in my home.
So badly yesterday and I wantit.
I just want it in my home sobadly.
So they're those reallyincredible statement pieces that
you would just have sitting onyour dining table or sitting on
your console entry area orsomething like that.
They're really.
They're artworks.
They're not functional type ofceramics.
(14:22):
And yeah, and she's based downon the mornington peninsula and
she creates these incrediblepieces just.
They're just beautiful and theglazes are natural and natural
tones and they're just.
Speaker 2 (14:35):
She's so, so talented yeah, I have seen her work, I
think at pepite as well, inmelbourne.
I think they often have herpieces yeah um, but yeah, it's
very organic too, isn't it?
Some of her pieces almost looklike they're kind of melted
forms or she's got is she and Icould be wrong here the one with
(14:55):
the beautiful, as you said,like bulbous forms.
But then there's like kind ofshapes, like little
two-dimensional kind of shapesthat are layered on top of that
to kind of create even extra,almost like buttons.
Yeah Buttons again, or studs isprobably the right word.
Yeah, she does.
Those ones, the big vessels.
Speaker 1 (15:14):
She's done something like that, but the glazes, I
think are really stunning.
Speaker 2 (15:17):
They're stunning that sort of metallic glaze.
She does as well that kind ofmaybe not bronze, but like that
sort of blackened metal look toceramics.
Speaker 1 (15:27):
Yeah, you're right, it's very cool, yep.
Well, I'm just on her websitenow and she says that she stocks
through Studio Gardner inSydney, st Closh Gallery in
Sydney as well, and CraftVictoria.
Oh, craft, yeah, yeah, yep.
Speaker 2 (15:41):
We'll look out for her pieces, and I love the idea
that you know ceramics.
I guess it's an art form, andso some of those pieces are like
buying a piece of fine art.
There's a lot of work that goesinto those pieces, especially
the big ones, because they don'talways work.
You know, I worked withceramics before and it just
(16:08):
amazes me sometimes the, thefaith even.
It is quite technical, it'squite scientific, the glazes in
particular, but also just thefiring of things, and sometimes
you just don't know and it'sjust gonna explode in the kiln
and then you lose that wholepiece like it's crazy, it is.
Speaker 1 (16:17):
It's like what you say it's you know, the art that,
the forms that, that form thatshe's created, and the science,
the glazes, the, the firingtemperature, all of those things
can go wrong and it's such anancient craft, or art as well.
Is it a craft?
Is it an art like?
Yeah, it's a bit.
I think her is really pushingyes to the fine art realm more
(16:39):
than craft.
But yeah, sublime, she's coolyeah, love her, exactly, exactly
.
Speaker 2 (16:45):
I think it's always this weird line between uh well,
not weird, it's a.
It's a line between craft andart and I definitely think they
cross over, and more so of late,with a focus on the skill
involved in ceramics and largepieces or particular glazes or
the forms that can be createdand the work that goes into them
(17:05):
kind of I don't know goes pastbeing a crafty thing, because we
sort of maybe don't put that onthe same level, sometimes as a
fine art thing.
Yeah, I think there's a lot ofamazing ceramicists or artists
whatever they're callingthemselves now, and Craft
Victoria is a great place to goand have a look at some too.
Speaker 1 (17:25):
Oh, incredible Great collection.
Speaker 2 (17:28):
Well, I actually also have ceramics in mine, which is
the Batossi pieces by PatriciaArcheola.
Speaker 1 (17:36):
Do you remember those ?
Speaker 2 (17:38):
Yes, they're kind of like architectural sort of
shapes.
So I think it's called the.
The collection is malate or itmight be malati if it's italian,
I'm not sure oh, they'regorgeous she has quite big
pieces like there's stools ohyeah, but there are also these
kind of smaller vessels and Ithink she basically says they're
(18:00):
like architectural forms, likemicro architecture, and love it.
it's the texture on them that'samazing.
So which is what I guess isthis thing about ceramic and
glaze and what you can create interms of tactility with
something that's actually quitehard.
So these all have like ridgesin their shapes and that's kind
of referring to that kind ofarchitectural shape, but the
(18:23):
actual texture is like stone,like really textured, and then
amazing colors, because Patriciadoes beautiful colorways and
then you kind of get thatbeautiful nuance in the glaze
where the colors shift and thecorners and the edges of the
architectural forms areaccentuated because of the way
that the glaze is kind of takento the form.
(18:44):
So it sort of just adds to thattactility.
Speaker 1 (18:47):
Yeah, they're delicious.
Those are my favorites.
Speaker 2 (18:49):
Yeah.
Speaker 1 (18:50):
Can I tell you?
Speaker 2 (18:50):
In fact, they do look slightly edible.
Speaker 1 (18:52):
They do, don't they Like icing the way you described
?
It with the you know the edgesof that glaze revealing a sort
of another color underneath.
Oh, they're so gorgeous.
Can I tell you a funny storyabout Botossi?
Speaker 2 (19:06):
Of course, we love a funny story.
Speaker 1 (19:09):
You know my funny client where every time I go
there I come back with a funnystory.
She collects Bitossi.
So if you're not familiar,bitossi is an Italian ceramic
studio brand.
I mean, they're worldwide,they're probably.
What comes to mind are thosegorgeous blue.
What do you call that colour,bree that?
Speaker 2 (19:29):
really bright.
Speaker 1 (19:37):
Not the cerulean, the east plain blue.
It does go into that, doesn'tit?
That's a really strong,beautiful blue and they're
ceramic pieces.
Imagine a cylinder, and it'sgot almost like an embossed
pattern that's sort of repeatedaround, just Google it, but
anyway.
So I'm talking to my client andwe're in the kitchen and she
opens up her appliance cupboardwe just worked with her about a
(19:58):
year ago, so it's all finished,it all looks great Opens up her
appliance cupboard and it'sfilled with Botossi ceramics,
just like where is your?
Toaster.
Speaker 2 (20:12):
Where's your toaster?
Speaker 1 (20:13):
Where is your kettle?
Speaker 2 (20:14):
I can't make toast with any of these things.
Speaker 1 (20:17):
So hilarious.
Like she is obsessed, she buysit from First Dibs and from
wherever I was going to say so.
Speaker 2 (20:23):
The pieces you're talking about are like the.
I think it was the 50s, whenthey were quite big right 50s,
60s they're like in gorgeousmustard colours oranges, the
blues and the greens, like itwas so funny.
I love an obsession with things.
Speaker 1 (20:38):
I didn't expect to see that in her appliance
cupboard.
I mean, I don't think she ismuch of a cook, but just to give
that such a priority of storagein the house, Anyway.
Speaker 2 (20:52):
so yeah, people and I've actually found one in an op
shop before, so that was prettycool I like I get so excited
about like side of the roadfacebook marketplace op shop
finds like, even if it's not me,I just get like actually super
excited like I'm like oh my god,I can't believe you found that
so amazing and then I just wishI go, hopefully one day I know
(21:16):
we should go.
We should go on a, an op shopcrawl actually I think let's do
that, but also let's do anepisode and we'll just tell all
the stories we know about opshop finds.
I mean we could get all thedifferent people on, but I think
we just do all the stories thatthat would be so fun.
Speaker 1 (21:34):
Well, I mean, that's why I love Antiques Roadshow.
I know it's a grandma's show,but it's so comforting and I
love it when someone's like Ibought a chair and I was
reupholstering it and I found adiamond ring and a brooch and
earrings inside the upholstery.
I like live for that.
Speaker 2 (21:57):
Yeah, no is.
That is a highly amusing showtoo.
It is especially when um peoplethink that something's, it's,
it's amazing, when it's like, oh, this is worth a lot more than
I thought.
But also I love the ones wherethey think it's really it's
worth something oh, it's afamily.
Speaker 1 (22:10):
Early I wasn't gonna sell it anyway.
Speaker 2 (22:12):
It's like yes, you were now, it's worth nothing.
Speaker 1 (22:14):
You're like oh, it's fine, no, I don't care, I don't
care well, I love that rangewith batasi that you mentioned
with our friend patricia erciola.
Um, yes, and it's cool that abrand like that can evolve and
can work with new designers andyeah, and they have done that
very well.
Speaker 2 (22:32):
I think like brought themselves into into the now and
not just been.
I mean, they've got theheritage, so I guess they're a
heritage brand yeah but yeah, tobe able to do that and, and
that's, I love that range so oneday I'll own one of those
pieces.
Speaker 1 (22:49):
totally.
I want to talk about Love, agood tapware story.
I love this tapware brand for afew reasons, so Sussex they're
called.
I don't know if you're familiarwith Sussex Taps.
Speaker 2 (23:02):
I am.
Speaker 1 (23:03):
Yeah.
So their designs are beautiful,quite minimalist, but they have
a good range, something foreveryone, maybe.
I love the tumbled brass finish.
It's beautiful.
I love the design.
Number two is I love thetumbled brass finish it's
beautiful.
Speaker 2 (23:14):
I love the design.
Speaker 1 (23:15):
Number two is I love it that they're made in
Melbourne and they are B Corpcertified.
So it's really really difficultto become B Corp certified.
I don't understand all of it,but it means that you are really
following strict sustainabilityprotocol throughout the whole
business.
So they achieved that, which Ithink they're one of the only
(23:35):
tapware companies to achievethat.
Number three it's run by awoman.
Her name's Vanessa.
She is so gorgeous and lovely.
It was started by her father, Ibelieve, and so she's taken
over the family business andreally elevated that and they're
always they're always, uhgetting better yeah, so they're
just my they're my go-to tapwarecompany, so and they're
(23:59):
available, I think, throughoutaustralia.
Reese roger seller winnings allof that so yeah that's.
That's my tip for tapware andam I?
Speaker 2 (24:09):
I might be wrong, but I think they also do custom
colors, don't they?
I?
Speaker 1 (24:14):
think, so Do they have the ability to do that.
Speaker 2 (24:16):
Because they are a locally made I assume most of
it's made here, if not alltapware brand.
I think they maybe have alittle bit more leeway for
custom options compared to, say,a mass-manufactured, offshore
brand.
Speaker 1 (24:32):
Definitely, am I right?
I think so.
Well, you know, I I love thetumbled brass and when we had
our place we did all sussextapware and that the kitchen tap
.
I loved it like.
I know that's weird to say Iloved my kitchen tap.
No, I love taps too.
Speaker 2 (24:47):
Yeah, especially when you think you know it is the
thing.
It's the feel and the touch andthe way they work.
It actually changes your life.
Speaker 1 (24:53):
It's so satisfying and the touch and the way they
work it actually changes yourlife it's so satisfying, but
with the tumbled brass theyliterally tumble it in a big tub
of rocks to get that finishyeah, I was like oh, that's
interesting.
And when they are creating allthose brass taps, it's all solid
brass, all the mechanismsbehind and everything sound like
I'm going to spill here.
(25:13):
This is not a sponsored post, Ijust genuinely like sussex.
Speaker 2 (25:16):
Oh yeah, yeah, no, no , none of this is.
However, we are very open tosponsorship.
You're getting an.
I just double check.
I just double check that.
Um, yes, they do docustomisation.
Speaker 1 (25:32):
Yeah, yeah.
Speaker 2 (25:33):
That's what Sussex bespoke and that's, I think, how
they sort of got on my radarinitially was seeing like
coloured tapware when it firstbecame a bit of a thing and they
were one of the firstmanufacturers doing it because
they were able to, and I waslike, ooh, this is cool.
But I've done quite a fewtapware and bathroom wear shoots
over the years and theirproducts have always been I
(25:55):
don't know, they're very shootworthy, let's say.
Speaker 1 (25:58):
Yeah, they look good.
Speaker 2 (25:59):
Yeah, gorgeous, gorgeous.
Well, I'm a bit torn between mylast two, so I'm going to keep
the last two as interior related, but I'm going to throw in a
bonus.
That's sort of not interior,just because I'm obsessed with
it at the moment.
So my next one I'll talk aboutlighting.
I came across marlo lighter'sbeautiful work at melbourne
(26:22):
design week this year.
Um, some people may alreadyknow her work, but she just
exhibited this year thesestunning lamps that some of them
are really big, as in like kindof oversized, so accentuated
scale, and some are sort ofsmaller but still have the same,
I guess, feel of the largerones, just due to the scale
she's used in terms of the form,and they're called the toil
(26:46):
lamps.
They're made of calico, so it'slike a remnants.
I believe it's remnants becauseshe's quite she you may
remember she also did thoseremnant tables from could have
been the year before atmelbourne design week, you know
with the all the marble pieces.
So they're literal marbleremnants and they do remember
that little collection of tablesyeah
um, so I think I think hopefullyI'm correct on this, because I
(27:06):
couldn't find a lot of info whenI was doing my quick research
that the calico is also calicoremnants.
Sorry, marlo, if I'm wrong, butthey just have this rawness to
them but also the softness,because calico I guess has has
enough form to be able to createthese, you know, stunning
lights and they're kind of atake on a very traditional base
(27:28):
which is sort of slightly coneshaped and then a quite a
traditional lap shade in thatsort of again cone shape again,
but the all the seams areexpressed and kind of raw.
So where she's joined thecalico together, you get sort of
the you know the threadsstarting to pull apart and so
you get that just a little bitof texture on all those joins.
I don't know, they're just.
(27:49):
I think she just perfectlynailed this beautiful sort of
tactile look that's sitting inthis space at the moment, where
we're seeing a lot of softnesscome into interiors and they're
just that kind of perfectrepresentation of that.
So yeah, the Toil Lamps byMarlo Leiter she's a Sydney
designer, very cool woman, bythe way.
Speaker 1 (28:08):
Well, I remember seeing Also.
Yeah, she does seem really cool.
I remember seeing that lamp atthe 100 Lights exhibition during
Melbourne Design Week as well.
And I just had the urge tosteal it.
Speaker 2 (28:22):
I could have walked out with quite a few lights
there.
Same Mine was.
I'm throwing this in thereJordan Fleming's light that has
to sort of lean on the wall andit's made of um exhaust pipes
like chrome exhaust pipes.
Oh yes, she knows I want that,but it's a one of a kind and she
won't tell it.
Oh, oh, I love it that one's agood one too.
(28:45):
Yes, so the toil lamp.
Speaker 1 (28:46):
That's my next one that was a great exhibition and
there was such a greatrepresentation of female
designers in that.
Yes, I remember you working itout.
I know I was like I think it'slike 50-50.
I'm just not sure.
Let me just add it up we'redoing maths.
Speaker 2 (29:03):
We're there on the party the opening night party or
whatever it is and Lauren'scounting yeah.
Speaker 1 (29:07):
I'm like Go you guys for organizing that.
Because I have to say, like,when it comes to industrial
design, it is such amale-dominated industry, like
when I studied it.
Well, I studied interior design, but they put us a lot of the
time with the industrial designguys.
They were 90% Anyway.
So I thought that was reallyencouraging to see, like in the
(29:28):
past 20 years, how much that'sreally grown.
Yeah, I also have a lightingdesigner that I want to talk
about.
Yeah, that was reallyencouraging to see, like in the
past 20 years, how much that'sreally grown yeah I also have a
lighting designer that I want totalk about, yeah, and it's lana
lune, so you might know herpieces because she does these
kind of light totems.
So imagine like a, a sort of asphere at the top.
(29:49):
Underneath that you've gotmaybe, maybe like a cylinder,
and then you've got an elongatedsphere and they're sort of
stacked on top of each other.
So it's like a totem type oflight I'm waving my arms around
but no one can see me and thewhole thing is illuminated and
it looks like she uses differentmaterials for her lighting.
(30:10):
She uses lace like, almost likea doily lace in a new, a new
range work.
I remember now you'll know it,and fabric that's sort of
stretched across these, uh,these shapes.
Speaker 2 (30:22):
She's got timber in her pieces and um yeah again,
she used paper as well, becauseI'm trying to remember, because
I think some of her forms havethat feel of the Japanese
lantern, but just in a differentsort of different take.
But it might be fabric, itmight not be paper, I know.
Speaker 1 (30:40):
It says here that chooses those washi papers,
those Japanese papers, yeah,100%.
Speaker 2 (30:46):
Yeah.
Speaker 1 (30:46):
And I think that I adore the Vitra range of lights,
the Akari range.
Speaker 2 (30:54):
Yeah, me too.
They are gorgeous.
They're having a huge moment,but I think they've always been
beautiful A hundred percent.
Speaker 1 (31:00):
But it's so great to see something that's they're not
like the Akari lights, but theydo.
Speaker 2 (31:05):
You can see the inspiration of the background
where those came from.
Speaker 1 (31:10):
Yeah.
Speaker 2 (31:11):
So it's faithful to its references, kind of thing
you know it's like without it's,they're not a copy no way
reinterpretation or definitely.
It's probably more based on theskills of how those are made.
So you know, I love it whendesigners kind of, I guess, look
at craftsmanship and and howthings are made, you know in the
past, and take that and thenmake it into something of their
(31:33):
own kind of making.
I feel like that's potentiallywhere it came from definitely
hey, they look cool.
I'll do something like that.
It's usually to do with thatkind of like how, how it's
pulled together and what thematerials are, and stuff like
that you're right, like theseare very original, but there's
similarity in the, in thematerial perhaps, but also you
know the.
Speaker 1 (31:52):
As much as I love those kari lights, sometimes you
do see them a little bit oftenand this is a good, a good
alternative.
That's like oh wow, that looksnew, that looks really original,
like that's something differentthat can fill that same spot.
Speaker 2 (32:07):
I love it.
And also they're originalbecause because of that nature,
of that being like a totem thatyou described, and there's the
different shapes, I think youcan reconfigure them however you
like.
So if you buy one, it probablyisn't going to look like the
same one that someone elsebought, even though it's the
same elements.
So you mix it up or do it theway you like.
Speaker 1 (32:27):
So it's very, very clever, very clever.
Love her.
So she's based in Sydney andLos Angeles.
Oh clever love her.
So she's based in sydney andlos angeles.
Speaker 2 (32:36):
Oh, I didn't know that, yeah, it's quite cool.
It is very cool, isn't it?
Oh, um, well, so I said I'dstick in to interiors, even
though my fifth one wasoriginally not really interiors
related.
But I am looking at buying apiece of art at the moment for
myself.
I got given some vouchers fromfriends for a birthday and
they've been sitting there andI've been going.
I just go and look every now andthen because art for me is
(32:58):
something that I don't alwayssee what I want.
Like.
You can look at lots ofbeautiful art, but unless for me
it's like it hits this littleheart moment, it's not for me.
I might buy it for other peoplebecause it's beautiful and I
know it's going to work there,but for me artwork is like I
(33:18):
fall in love, like I go oh,that's it, that's the one.
So I just go and look every nowand then and go is there
anything at the moment that Ilike?
And I came across Louise Knoll'swork and because I don't have
lots and lots of money to spend,I was looking for sort of
smaller pieces and I think she'sactually about to have an
exhibition with Studio Gallery,but I came across these little
series of artworks that it'svery abstract, you can probably
(33:42):
imagine.
It has a lot of colour in itfor me, but it's quite
expressive.
Still.
There's a lot of texture in thework.
There's sort of lots of layerof colour, so there's like maybe
really strong pink underneathbut with other layers of color,
so you just get little bits ofthat strong pink kind of peeking
through, and then there'sreally dark moments as well.
(34:03):
So there's enough contrast thatit's not just pretty, it's
actually for me it's reallybeautiful.
Speaker 1 (34:08):
but oh, there's a little edge to it.
Speaker 2 (34:10):
Yes, they're stunning .
And then what kind of almostsold me, and I don't know about
you, but framing is part of theartwork in my opinion, like the
way you frame something, nodoubt, and these particular ones
.
So they're about like 50 oddcentimetres, probably about 40
something, but they're framed inthe fluoro, perspex, the pink
(34:30):
fluoro, and I was like yeah,yeah, okay, that that's great, I
want one of those.
So I'm in, I'm in the, I'm inthe midst of purchasing one.
I had there was a few in SydneyI went to have a look at,
because I always love to go andhave a look at the pieces.
It's very easy to buy onlinebut they never look exactly as
you think they're going to.
But it either confirms, or youknow or you go.
(34:51):
It's not quite right.
And I saw her work and I didn'tsee the piece that I wanted
because it wasn't there.
But I knew that I would likethe piece that I wanted, just
from looking at the way thosepieces kind of came together.
I'm a bit of an abstract artfan as long as it's expressive,
and for me there's still a storybeing told, but I get to decide
what the story is kind of thing.
Speaker 1 (35:12):
I love how you said that.
I love that.
Well, these are very lively andthere's a good energy in them.
Speaker 2 (35:19):
Yeah, energy is a good word.
Yeah, I love them.
Yeah, so I have been looking atthose a lot.
It's sublime.
Speaker 1 (35:26):
Love them.
There was another thing Iwanted to talk about, which is
about tiles.
I'm a little bit obsessed abouttiles because I went to the I
am so I literally dreamed aboutthe mecca flagship store.
It's so sad I did.
I had the best morning there Iwent, um, I took phil, took my
(35:48):
husband phil on on the morningafter the weekend it opened and
I was like some weird, like thesecurity guys were watching me,
like what is she doing, are youokay?
Because I was bending down.
I was looking at the floor.
They're like, oh, have you lostsomething, an earring or
something?
I'm like no, I'm just lookingat the floor.
They're like oh, okay.
Or sales assistants they wantedto help me.
(36:12):
I did not want to talk aboutskincare or makeup, I'm just
like looking at the joinery andeverything.
I like just soaked it up.
I.
I want to go back there, butI'm gonna go back there on the
weekend I I went to look as well.
Speaker 2 (36:25):
I won't hijack your tile story, but yes, it is
amazing.
For all those reasons it it'sworth it.
Speaker 1 (36:31):
Well, I mean, it was just on so many levels.
It's, the fact that adepartment store's opened up in
the middle of Melbourne is justquite a miracle, because it's a
bit like a tumbleweed kind ofvibe sometimes down Bourke
Street.
Maya David, I love David Jones,but it's just not what it used
to be.
Speaker 2 (36:49):
They've lost their.
You know, when I used to go, Iused to trek into the city.
I grew up in the country andI'd go often into the city
because I didn't really want tobe in the country, I wanted to
be in the city.
And those, the stores then,were iconic and designed very
well and beautiful.
And you know, yes, there wasalways like one floor that was
(37:12):
maybe a bit hectic, but always,in particular, that ground floor
that you walked into was alwaysstunning.
And I feel like they'vedefinitely lost that.
They've come a bit kind ofcommon and I don't know common's
a terrible word sounds like I'mlooking down my nose.
I just mean they're not specialanymore, like I think it's, and
that's what I was excited aboutwith the Mecca store was that
building itself has been givenno love for so long.
(37:35):
And did you hear the storyabout them taking down the
covers of the windows?
And how, all of a suddenbecause those windows are
amazing, the big arch windows,yeah, at the front of the
building, but they were allcovered because department
stores didn't have windows right, everyone, it was all blocked
off.
I think it was the old mensweardavid jones menswear building
(37:56):
for a while.
So when they pulled those down,the hoardings that were, they
were like, oh my god, and allthis light flooded in.
So there's all these greatstories, and did you also notice
that there's all female artistsas well?
Speaker 1 (38:08):
yeah, the artwork is amazing.
There's like a massive judithwright.
She's one of my favoriteartists and it's set against
this wall color.
I'm going to take my fan deckin there.
I'm just going to go for it.
Speaker 2 (38:23):
I'm going to build out the finisher schedule.
Speaker 1 (38:25):
Oh, it's so gorgeous, I mean yeah.
Speaker 2 (38:27):
It is good.
Speaker 1 (38:28):
I just loved it.
So it took me down this huge,big rabbit hole of flooring
which I have been just diving infor, because I think that if
you go there it's not aboutcopying what the floors are,
it's just that whole excitementof matching and contrasting
pattern, color, texture.
It's really cool.
(38:49):
So I have gone looking atflooring, especially terrazzo.
I mean terrazzo is not anythingnew and I mean in the building
there's literally that existingterrazzo which I was just losing
my mind over how special thatwas.
But I found some beautifulflooring tiles from Tiento, from
Riva Ceramics, I think she'sdown in Brighton, I'm not
(39:10):
familiar.
I just met her the other day andI loved what she has Lots of
handmade or hand-painted Italianceramic tiles, artidomus,
amazing marble pattern tiles,tiles of Ezra, you know, amazing
Zalige patterns, like.
It's just so exciting and Ithink that you just get so much
(39:30):
joy from experiencing a spacethrough a patterned floor.
I do, anyway, obviously.
Speaker 2 (39:36):
I need to calm down.
Speaker 1 (39:38):
I need to calm down.
Speaker 2 (39:39):
I totally get it, especially floors, and I have a
bit of an obsession withterrazzo, kind of I don't know
what.
It has always been, I think,because I love that kind of
pattern.
I like kind of graphic, whetherit's dots stripes, I like those
kinds of pattern.
I like kind of graphic, whetherit's dots stripes, I like those
kind of patterns.
I've always loved them.
So for me, before I was even ininteriors, I had a weird
(39:59):
obsession with terrazzo, likehow cool it was.
I just thought I was the onlyone who thought it was cool.
Well, I mean to be fair, itwasn't cool for a while.
Well, it's actually such a whyyou see it in all these old
buildings is?
It's actually such a?
It's just why you see it in allthese old buildings.
It's a super practical, very,very durable floor.
So, you know, and it wears inthat beautiful way.
(40:20):
Like you know, I guess, whenyou're in italy or europe, then
you really see it at itsabsolute best.
But yes, the one of the firstthings I noticed in the mecca
stall was the tarats yeah, soremember, like going to cole's
new world as a kid it was likethat floor, these big
rectangular checkered pattern
Speaker 1 (40:38):
and actually years ago I went to a terrazzo factory
in melbourne where they madeterrazzo.
It was so interesting becausethey made floors for like the
italian restaurants on ligonstreet they are still there,
yeah so wild?
Have you seen greg natalia'stile range?
He does great.
Speaker 2 (40:55):
I haven't seen it in person, but yes, I don't think I
have either, but just onlinethe patterned to right.
Speaker 1 (41:01):
So, as you say, when you said stripes, I was like, oh
he does.
Amazing stripes, graphicpatterns, amazing mosaic
patterns as well.
Speaker 2 (41:08):
It's really fun I should order some samples same.
Speaker 1 (41:11):
Yeah, they're from pirelli, I think, perini.
Yes perini, oh, perini, periniand di lorenzo, I think, in
sydney.
Anyway, it was fun well, funnyenough.
Speaker 2 (41:22):
My bonus thing that I'm obsessed with at the moment
is to do with mecca oh, weirdlyso, um hi, I was talking to a
beautiful woman in milan thisyear and I just I was so
distracted I couldn't listen towhat she was saying because she
just smelled so good and I hadto say to her I'm sorry, what is
(41:43):
that you smell?
I don't need.
I don't think I've ever smeltanything like this, and she was
very reluctant but did tell mein the end what it was.
She was sort of a bit, a littlebit gatekeeping, but then going
it's this?
And she did this thing whereshe kind of like, showed me the
bottle and I went I can't eventake a photo and when I took the
photo she pulled the bottleaway, not deliberately, and I
(42:04):
didn't want to say to her Ididn't get it, cause I was just
embarrassed at that point, tothe point where I was taking a
photo of her perfume, and so Ihad this blurry photo of the
perfume and all I knew was likethe color of the bottle and that
it was apparently exclusive toMecca, and so I had to go down
this deep dive of trying to findit.
Anyway, I found it andunfortunately for me it is very
(42:25):
expensive um, I'm surprised, I'mshocked why does this?
Speaker 1 (42:31):
happen to me.
Why do?
Speaker 2 (42:32):
I like beautiful, expensive things.
Um, you know I'll get it oneday, but I don't.
I don't, do not own a bottle atpresent.
So when I went into the store,one of the first things I did
was okay, I'm gonna go smellthat and spray it on myself and
the days after you know, likethe pants I was wearing were
just sitting in my cupboard andI'd walk past and I'd go there
(42:52):
it is.
So it's quite.
It's quite.
It's nothing like I'm normallylike a citrus based scent person
.
It's like a kind of almost haslike a vanillary tone and
there's a little bit of sort ofdirtiness to it.
I don't know how I'll look uphow to describe it.
It's probably a little bit of atobacco, which is not generally
my vibe at all.
(43:13):
But the name of it is um maisonfrancesse.
Did you say francesse?
Or francais, francais, maybefrancais caugion, caugion, it's
a french name and and theparticular one because there's a
few different ones in thatbrand is it's oud o-u-d is the
(43:33):
name of the actual, which Ithink people will know what that
is.
So it's kind of a spiced vanilla.
It is woody but it's very, it'squite, actually it's probably
quite.
What do you call it?
Uh, women and men could wear it, kind of thing yeah, right yeah
, cool anyway.
So that's my side note of Ithink about it.
That's the sort of thing I'mprobably having dreams about at
(43:54):
the moment I'm excited.
Is owning that perfume.
Speaker 1 (43:56):
I don't know why I've become obsessed, so we should
start a GoFundMe for oursessions.
Sessions, I love that idea $881.
Speaker 2 (44:06):
Do you think people would feel sorry?
Speaker 1 (44:07):
enough for us.
Yeah, yeah, there's a link inthe bio.
Speaker 2 (44:11):
That's funny.
Speaker 1 (44:13):
Link in the show notes.
Yeah, they look sublime, thosefragrances.
You know, the other night Iwent to a event for the Italian
Center of Commerce or somethinglike that in Australia and it
was about design and it made me.
They had fragrances there andit was one of those things that
I thought oh, how come we don'tsee many Italian fragrances,
(44:34):
when they have amazingfragrances?
I got a sample they gave mesome on the way out, which was
very cool of them, and it's a aroom spray, because I know that
you're not a big fan of scentedcandles.
Speaker 2 (44:45):
but I do like the spray.
Speaker 1 (44:47):
Okay, I could do a room spray it's called Dr
Varanges and it's from Florence.
I'm probably obviouslypronouncing that terribly, but I
thought that was a supergorgeous gift that they gave me
on the way out.
And they also have a AtelierVersace fragrance line.
It's not your usual one thatyou see in Maya, it's more of
the high-end line and, as yousaid before they last the
(45:11):
fragrances.
They last.
Speaker 2 (45:12):
I think that's a really good sign of it.
You don't need as much.
No, I could probably still haveit wash those pants.
I reckon if I went upstairs nowit'd still be a lovely little
smell there.
Speaker 1 (45:23):
Yeah, love it.
Have a nice smell of your pants.
Speaker 2 (45:26):
That does sound a bit weird, but smelling the crotch
and I'm like it's's not that,it's definitely the perfume.
Speaker 1 (45:35):
You had to go there.
You had to go there sorry,sorry, everyone um so anyway
well, that was good.
Speaker 2 (45:44):
We both had fragrance stories yeah, yeah, I love it
oh okay, oh, thanks, it's beengood.
What should we do should?
Speaker 1 (45:52):
we put a little like story together or something on
our insta, if you wanted to seewhat we're talking about.
Yeah, um, I think I think weshould do that or just have your
.
Maybe you've been googling andstuff as you've been listening,
but thanks for thanks forjoining us on this chat I know
it's.
Speaker 2 (46:10):
Hopefully it was descriptive enough not to have
the visuals right in front ofyou, but yes, we'll definitely
yes we'll put links in we'll putlinks in we'll put it on the
socials yeah, and you know what.
Speaker 1 (46:20):
Tell us what your current obsession is as well.
I want to know what are we?
Speaker 2 (46:24):
yeah.
What are we frothing over?
What do you love?
Speaker 1 (46:27):
yes, share, share, yeah good thanks, brie thank you
we've got the utmost respectfor the Wurundjeri people of the
Kulin nation.
They're the OG custodians ofthis unceded land and its waters
, where we set up shop, createand call home and come to you.
From this podcast today, a bigshout out to all of the amazing
(46:49):
elders who have walked before us, those leading the way in the
present and the emerging leaderswho will carry the torch into
the future.
We're just lucky to be on thisjourney together.
Welcome to Design Anatomy, the interior design
podcast hosted by friends andfellow designers.
Speaker 2 (00:06):
Me, Lauren Lee and me , brie Banfield, with some
amazing guest appearances alongthe way.
Speaker 1 (00:12):
We're here to break down everything from current
trends to timeless style.
Speaker 2 (00:15):
With a shared passion for joyful, colour-filled and
lived-in spaces.
We're excited to share ourinsights and inspiration with
you, and we are going to talkabout what we're loving right
now, our top five or I don'teven know if we can say top five
, because there's too many andI've just chosen five.
Speaker 1 (00:33):
Exactly all day long To try and narrow it down.
There's too many things.
Speaker 2 (00:39):
But before we jump into that, Lauren, what have we
got happening next year?
That's big.
Speaker 1 (00:46):
Oh my God, it's actually starting to sink in now
that we're going to do it again.
We're going to Paris and Milanand we are taking some legends
with us.
I'm so excited because we'vegot some really cool women on
the list a few that I've metbefore and a few that I haven't.
Just really gorgeous, generous,clever women that are in the
(01:08):
design realm, designers or sortof design adjacent.
But we do have a few spots left.
Speaker 2 (01:14):
We do and I'm excited that we've got as many as we do
because we know it's definitelyhappening.
But those last couple of spotsspots we're about to start,
basically, you know, screamingabout it on social media.
So if you, listening to thistoday, do want to be involved,
please send us a message.
We'll send you the information,because I think once we start
(01:37):
talking about it, those lastcouple of spots are going to get
snapped up very quickly so true.
Speaker 1 (01:42):
Yeah, you know it was just so great.
I was looking through somephotos and thinking about, you
know, the experiences that wehad.
It was just the best and thosekind of exclusive, you know
apartment tours.
I think that was probably thething that everybody loved the
most, because it's justsomething that you can't
experience if you go over thereby yourself.
Speaker 2 (02:00):
Yeah, and I think the other thing that we've talked
about and if you want to listento a little bit about the tour
and what we got up to, there isan episode that we recorded that
sort of gives you a bit of aninsight into what's involved.
But one of the other big thingsthat you cannot get when you
just hop over there on your ownis the experience of the people
on the tour with you and makingthose connections with amazing
(02:24):
design-minded whether they'redesigners or design adjacent
people who you know you don'toften get to spend that much
time with, particularly inamazing places.
So you sort of have this bondthat's created.
I think you know friendshipsfor life.
It was so cool, that's nice.
Speaker 1 (02:42):
It was really nice.
I mean, it's weird, one of thememories that sort of just
popped into my mind then whenyou were saying that I think it
was the last day people werestarting to.
You know, it was the day afterour tour had finished and we
were just kind of wanderingaround.
I was exhausted I think we allwere and one of the ladies in
the tour in our group chat saidoh, we're meeting for a drink
(03:03):
and we're just sitting outsidein this kind of court.
Yeah, do you want to join us?
And it happened to be justaround the corner from where we
were and it was just such a nicemoment of being able to catch
up with people that you know wesat under a tree in the sun and
we drank Aperol Spritz Like itwas just really relaxing and it
was just beautiful, so that wasa really nice little farewell
moment.
that was unplanned.
(03:24):
Well, I guess we could gasbagabout our tour forever, but
let's talk about our topic today.
So yeah, as you said, I thinkthat was a great idea that you
had Brie to talk about some fivefavorite things that we're just
loving right now, because it'sthe kind of thing that we're
like, hey, look at this, this iscool, and you want to share
those with other people.
(03:44):
So do you want to go first,Brie?
Speaker 2 (03:50):
What kind of things have just popped into your mind
that you're loving right now.
Well, because after I went,let's just do that.
I went oh God, how do I decide?
So I tried to kind of come upwith little categories, and so
my first one, probably quiteobvious, is a color that I'm
loving right now we're shockedprobably quite obvious is a
color I'm loving right now.
We're shocked and it's not a new.
It's not a.
It's not a new color.
(04:10):
I guess it's just somethingthat I've been seeing a little
bit of, or maybe it's that thingof you know how you go.
I've been seeing this a lot,but sometimes you're just
noticing it more because you'rejust particularly attracted to
that at the time.
Yeah and I even have that.
I guess I have some clothes inthis color as well and I don't
know, maybe it's just popping upa little bit more in some
textiles.
I saw a couple of side tables,but it's a green, so it's a very
(04:35):
yellow based green.
I wouldn't say it's puce.
Puce is like really quite likevomity, isn't it?
Speaker 1 (04:42):
God, that's so funny.
Speaker 2 (04:44):
Vomity.
Quite like vomity, isn't it?
Oh, that's so funny, vomity.
Oh, hues can be quite full-on,whereas this is a bit softer,
but it's not.
I would say it's like a, um,like a banana leaf green.
You know, banana leaves quiteyellowy um tone and I've got a
couple of examples, like Duluxcolor examples, so you guys can
(05:04):
reference it.
Speaker 1 (05:05):
Yeah, I'm curious.
Speaker 2 (05:06):
Probably one of the most, I guess, popular ones in
that realm of green is Rodham,which is R-O-D-H-A-M, but I
particularly like Rickrack,dulux Rickrack, which is just
got.
Yeah, it's just that sort of Idon't know, it's like it's fresh
but it's not too zesty that itcouldn't use it on a piece of
furniture or upholstery, andthen you can kind of go a bit
(05:29):
further with it.
So for me you could go a littlebit zestier.
I like that.
So go further into that sort ofreally yellowy, more citrusy
green, almost a lime, but moreyellow, like a lime that's still
on the tree and is starting togo yellow in that color.
Speaker 1 (05:45):
I love the specificity.
Speaker 2 (05:46):
I miss my lime tree.
And the other one that I reallylike at the moment is Olive
Reserve, deluxe Olive Reserve,so that's a little bit cleaner,
but they're these grains thatlook amazing with Burgundy you
would have seen that combination.
We started to see it, I think,last year at Milan, when Gucci
did it with that sort of reallylime kind of green carpet and
(06:09):
then burgundy furniture in theirinstallation and everyone was
like what is this that pops?
Yeah, neutral room, and you'vegot some, you know, sort of
green based browns or tans, thatas a hit of color in a side
(06:30):
table, even a cushion, anupholstered chair, and then with
some red.
I like it with a little bit ofred and maybe a little bit more
green.
So you could take, like, put itwith all, so you could have
like this beautiful neutralscheme that's like olive, greens
, browns, with, you know, like alittle green undertone and then
tan, and it could be quiet,calm and neutral.
And then you can add that greenin and it just lifts the whole
(06:53):
scheme but it still keeps itquite neutral and still quite
calming, like it doesn't make itcrazy.
And if you want to take it tothe next level, then that's when
you can add the red as well.
Speaker 1 (07:03):
Oh, I love that picture that you've just painted
, when you were describing thatzesty green.
Remember when we went to theZanotta showroom in Milan?
Yes, yes, that was probablyquite electric, that green.
It's taking it really to thenext level.
But it's a showroom like it's,not a home.
Speaker 2 (07:20):
Yes, yeah, yeah, and I think you know, I think I I
would do it in a whole room, onall walls, in a space where you
want to feel sort of energized.
I don't know that I'd do it ina.
I think you could do it in abedroom, it's just.
It's one of those colors thatthe tiniest nuance can take it
from being wow, this feels greatto oh, this is a lot kind of
thing.
So it's like just the nuance ofhow much kind of yellow is in
(07:42):
it and how clean it is.
But you know, making it alittle bit dirtier, you could
totally do a whole room in itand it would be quite beautiful,
like almost luxury.
It can be quite a luxury colour, I think if you take it into
that sort of dirtier space.
Speaker 1 (07:56):
Yeah.
Yeah, I just looked up olivereserve.
Yeah, that's a beautiful colourtoo.
Yeah, and I can see how youcould pair it nicely with the
tans and the more neutrals, justto kind of calm it a bit and
yeah bring it into that moreluxury.
But then you could have, youknow, a side table with a
burgundy or, as you say, likered or something and it could
just be that little accent, it'sjust that little hint of that
(08:18):
unexpected and the contrast,that bit of tension, could just
make it feel really exciting.
Yeah, I'm loving it, lovingthat, love that.
Thanks for sharing that, noworries.
I wanted to talk about thischair that I have been coveting.
It's called the Comma Chair andit's by Herman Miller.
(08:41):
It's a dining chair and it'sjust very elegant in the form.
It's a sculptural sort of chair, but it doesn't look like it's
going to be uncomfortable to siton, which, I feel like, is a
really clever balance to getthat right.
So it's made up of, you know, aframe, obviously four legs, and
on top sits a round, perfectlyround seat and then it's got a
rounded backrest and armrest,that sort of.
You know they're reallycomfortable when they sort of
(09:03):
hug you around your body whenyou sit in them.
But it's so simple, but it'sstill quite elevated and it
makes that restraint look reallyluxurious.
And I think you know we saythat that term timeless is
overused, but I don't know whatdo you think?
I feel like it is quite atimeless chair.
Speaker 2 (09:24):
Yeah, no, I get what you mean by timeless.
I guess, when I look at it it'sshapes and forms we've seen
before, but I think the waythey've refined it and kept it
is, I guess, a simplicity to it.
Yeah, and sometimes withsimplicity it can kind of
transcend across different eras,so it can be timeless, I think.
Speaker 1 (09:44):
I think so it could be timeless.
And it's designed.
I love the colours too.
Right, the colours arebeautiful, so they have
obviously a gorgeous natural oak, but then there's this
beautiful petrol blue and anoxblood sort of red colour.
It's designed by MichaelAnastasiadis, who is a
London-based designer, and hedoes nail that quite minimalist,
(10:06):
clever design beautifully.
Speaker 2 (10:09):
He is one of my favorite designers, actually,
yeah.
Speaker 1 (10:11):
In terms of that, they're not boring, they're just
clever.
No, never yeah.
Speaker 2 (10:15):
No, he's clever.
Yeah, I love the upholsteredversion of that.
The seat looks like a cutelittle button, like with the
little it does.
It's probably got a littlebutton in the middle, but the
overall sort of shape it's gotthere it's beautiful, isn't it
yeah?
And a beautiful chest.
Speaker 1 (10:30):
And don't you think around a table that repetition
of that circular armrest wouldjust be quite pleasing to see
that repeated.
Speaker 2 (10:39):
So if you've got the budget, for Herman Miller.
Well, I'm going to jump intofurniture then as well.
Now I was showing thisyesterday so and I was like that
is very cool.
I don't know if you know theartist, stephen Baker, who I
guess his work is.
It's very sort of graphic.
It's really simple shapes, butthey're usually kind of in the
(11:01):
form of a person, so it's likeyou'll see people in the shapes
and it's very simple kind ofcolour, what?
Speaker 1 (11:07):
was the name again.
Speaker 2 (11:08):
I would say it's sort of modernist.
Stephen Baker oh cool, youwould have 100% seen it before.
So he's actually done a collabwith Ulta, which is a furniture
company, I believe, in Melbourne, and they've used those shapes
that he uses in his artwork tocreate these sun lounges.
So it's called the Lola SunLounge and at first you sort of
(11:29):
glance at it and go, oh, that'skind of cool.
But you see it from the sideand they look like women, but
not too.
It's just abstract enough thatit's quite cool without it being
a bit like tacky, like why isthat in the shape of a woman?
that's so clever, because youhave to kind of look twice a
little bit at how it works.
Yeah, they're really, they'rereally interesting.
(11:50):
And it was our my friend, kelly, who I'm sure people know,
kelly thompson, who she'sactually working with them on
something at the moment.
She said, oh, have you seenthese?
And I went I've not seen them.
So that was exciting.
You know we love a new thing.
I've not seen them, so that wasexciting.
Speaker 1 (12:04):
You know we love a new thing?
Speaker 2 (12:05):
I've not seen them either.
Yeah, I think, go have a look,everyone at those, because
they're just quite a cool,interesting collab, especially
that whole collaboration betweenan artist and a furniture maker
.
And in this particular case,the artist has taken literally
the way that they create andtheir forms and been able to
translate it into a furniturepiece, which is, I think, not
(12:25):
always the case.
Usually, the artist will maybeI don't know work on something
that's maybe reminiscent of howthey want to do a design, but
it's not normally quite asobvious as this is in terms of
the shapes.
Speaker 1 (12:38):
Anyway, yeah, but it's also I've just looked it up
as well it's also if I saw thatsun lounger, I'd be like oh,
that's really lovely the shape.
I like how that looks as a sunlounger.
You mentioned the artist andyou're like oh it doesn't hit
you in the face.
It's quite subtle.
It's really sophisticated theway it's done.
Speaker 2 (12:58):
Yeah, that's why I thought it was quite clever.
I feel like that could havebeen not so great.
It could have been not so greatLike, it could have been a bit
like, but they've just nailedthat fine line between kind of
copy paste of a shape onfurniture to actually it's
functional, it's elegant and itstill reflects his work.
So, yeah, I think they did itreally well.
Speaker 1 (13:17):
I love it.
It's a great find.
Thanks for sharing that.
I wanted to talk about someceramics that I have loved for a
while.
They're made by Astrid Salomon,her brand is called Bastard
Ceramics and her pieces aresublime.
Speaker 2 (13:37):
Bastard Ceramics.
Speaker 1 (13:39):
I know it's a funny name.
I met Astrid at an event maybea year or so ago and she was
just beautiful and lovely.
But her pieces are these big,almost bulbous ceramic.
Some of them are vessels, someof them are sculptures.
She did a wall relief I saw onher Instagram yesterday and I
(14:01):
want it.
I just want it in my home.
So badly yesterday and I wantit.
I just want it in my home sobadly.
So they're those reallyincredible statement pieces that
you would just have sitting onyour dining table or sitting on
your console entry area orsomething like that.
They're really.
They're artworks.
They're not functional type ofceramics.
(14:22):
And yeah, and she's based downon the mornington peninsula and
she creates these incrediblepieces just.
They're just beautiful and theglazes are natural and natural
tones and they're just.
Speaker 2 (14:35):
She's so, so talented yeah, I have seen her work, I
think at pepite as well, inmelbourne.
I think they often have herpieces yeah um, but yeah, it's
very organic too, isn't it?
Some of her pieces almost looklike they're kind of melted
forms or she's got is she and Icould be wrong here the one with
(14:55):
the beautiful, as you said,like bulbous forms.
But then there's like kind ofshapes, like little
two-dimensional kind of shapesthat are layered on top of that
to kind of create even extra,almost like buttons.
Yeah Buttons again, or studs isprobably the right word.
Yeah, she does.
Those ones, the big vessels.
Speaker 1 (15:14):
She's done something like that, but the glazes, I
think are really stunning.
Speaker 2 (15:17):
They're stunning that sort of metallic glaze.
She does as well that kind ofmaybe not bronze, but like that
sort of blackened metal look toceramics.
Speaker 1 (15:27):
Yeah, you're right, it's very cool, yep.
Well, I'm just on her websitenow and she says that she stocks
through Studio Gardner inSydney, st Closh Gallery in
Sydney as well, and CraftVictoria.
Oh, craft, yeah, yeah, yep.
Speaker 2 (15:41):
We'll look out for her pieces, and I love the idea
that you know ceramics.
I guess it's an art form, andso some of those pieces are like
buying a piece of fine art.
There's a lot of work that goesinto those pieces, especially
the big ones, because they don'talways work.
You know, I worked withceramics before and it just
(16:08):
amazes me sometimes the, thefaith even.
It is quite technical, it'squite scientific, the glazes in
particular, but also just thefiring of things, and sometimes
you just don't know and it'sjust gonna explode in the kiln
and then you lose that wholepiece like it's crazy, it is.
Speaker 1 (16:17):
It's like what you say it's you know, the art that,
the forms that, that form thatshe's created, and the science,
the glazes, the, the firingtemperature, all of those things
can go wrong and it's such anancient craft, or art as well.
Is it a craft?
Is it an art like?
Yeah, it's a bit.
I think her is really pushingyes to the fine art realm more
(16:39):
than craft.
But yeah, sublime, she's coolyeah, love her, exactly, exactly
.
Speaker 2 (16:45):
I think it's always this weird line between uh well,
not weird, it's a.
It's a line between craft andart and I definitely think they
cross over, and more so of late,with a focus on the skill
involved in ceramics and largepieces or particular glazes or
the forms that can be createdand the work that goes into them
(17:05):
kind of I don't know goes pastbeing a crafty thing, because we
sort of maybe don't put that onthe same level, sometimes as a
fine art thing.
Yeah, I think there's a lot ofamazing ceramicists or artists
whatever they're callingthemselves now, and Craft
Victoria is a great place to goand have a look at some too.
Speaker 1 (17:25):
Oh, incredible Great collection.
Speaker 2 (17:28):
Well, I actually also have ceramics in mine, which is
the Batossi pieces by PatriciaArcheola.
Speaker 1 (17:36):
Do you remember those ?
Speaker 2 (17:38):
Yes, they're kind of like architectural sort of
shapes.
So I think it's called the.
The collection is malate or itmight be malati if it's italian,
I'm not sure oh, they'regorgeous she has quite big
pieces like there's stools ohyeah, but there are also these
kind of smaller vessels and Ithink she basically says they're
(18:00):
like architectural forms, likemicro architecture, and love it.
it's the texture on them that'samazing.
So which is what I guess isthis thing about ceramic and
glaze and what you can create interms of tactility with
something that's actually quitehard.
So these all have like ridgesin their shapes and that's kind
of referring to that kind ofarchitectural shape, but the
(18:23):
actual texture is like stone,like really textured, and then
amazing colors, because Patriciadoes beautiful colorways and
then you kind of get thatbeautiful nuance in the glaze
where the colors shift and thecorners and the edges of the
architectural forms areaccentuated because of the way
that the glaze is kind of takento the form.
(18:44):
So it sort of just adds to thattactility.
Speaker 1 (18:47):
Yeah, they're delicious.
Those are my favorites.
Speaker 2 (18:49):
Yeah.
Speaker 1 (18:50):
Can I tell you?
Speaker 2 (18:50):
In fact, they do look slightly edible.
Speaker 1 (18:52):
They do, don't they Like icing the way you described
?
It with the you know the edgesof that glaze revealing a sort
of another color underneath.
Oh, they're so gorgeous.
Can I tell you a funny storyabout Botossi?
Speaker 2 (19:06):
Of course, we love a funny story.
Speaker 1 (19:09):
You know my funny client where every time I go
there I come back with a funnystory.
She collects Bitossi.
So if you're not familiar,bitossi is an Italian ceramic
studio brand.
I mean, they're worldwide,they're probably.
What comes to mind are thosegorgeous blue.
What do you call that colour,bree that?
Speaker 2 (19:29):
really bright.
Speaker 1 (19:37):
Not the cerulean, the east plain blue.
It does go into that, doesn'tit?
That's a really strong,beautiful blue and they're
ceramic pieces.
Imagine a cylinder, and it'sgot almost like an embossed
pattern that's sort of repeatedaround, just Google it, but
anyway.
So I'm talking to my client andwe're in the kitchen and she
opens up her appliance cupboardwe just worked with her about a
(19:58):
year ago, so it's all finished,it all looks great Opens up her
appliance cupboard and it'sfilled with Botossi ceramics,
just like where is your?
Toaster.
Speaker 2 (20:12):
Where's your toaster?
Speaker 1 (20:13):
Where is your kettle?
Speaker 2 (20:14):
I can't make toast with any of these things.
Speaker 1 (20:17):
So hilarious.
Like she is obsessed, she buysit from First Dibs and from
wherever I was going to say so.
Speaker 2 (20:23):
The pieces you're talking about are like the.
I think it was the 50s, whenthey were quite big right 50s,
60s they're like in gorgeousmustard colours oranges, the
blues and the greens, like itwas so funny.
I love an obsession with things.
Speaker 1 (20:38):
I didn't expect to see that in her appliance
cupboard.
I mean, I don't think she ismuch of a cook, but just to give
that such a priority of storagein the house, Anyway.
Speaker 2 (20:52):
so yeah, people and I've actually found one in an op
shop before, so that was prettycool I like I get so excited
about like side of the roadfacebook marketplace op shop
finds like, even if it's not me,I just get like actually super
excited like I'm like oh my god,I can't believe you found that
so amazing and then I just wishI go, hopefully one day I know
(21:16):
we should go.
We should go on a, an op shopcrawl actually I think let's do
that, but also let's do anepisode and we'll just tell all
the stories we know about opshop finds.
I mean we could get all thedifferent people on, but I think
we just do all the stories thatthat would be so fun.
Speaker 1 (21:34):
Well, I mean, that's why I love Antiques Roadshow.
I know it's a grandma's show,but it's so comforting and I
love it when someone's like Ibought a chair and I was
reupholstering it and I found adiamond ring and a brooch and
earrings inside the upholstery.
I like live for that.
Speaker 2 (21:57):
Yeah, no is.
That is a highly amusing showtoo.
It is especially when um peoplethink that something's, it's,
it's amazing, when it's like, oh, this is worth a lot more than
I thought.
But also I love the ones wherethey think it's really it's
worth something oh, it's afamily.
Speaker 1 (22:10):
Early I wasn't gonna sell it anyway.
Speaker 2 (22:12):
It's like yes, you were now, it's worth nothing.
Speaker 1 (22:14):
You're like oh, it's fine, no, I don't care, I don't
care well, I love that rangewith batasi that you mentioned
with our friend patricia erciola.
Um, yes, and it's cool that abrand like that can evolve and
can work with new designers andyeah, and they have done that
very well.
Speaker 2 (22:32):
I think like brought themselves into into the now and
not just been.
I mean, they've got theheritage, so I guess they're a
heritage brand yeah but yeah, tobe able to do that and, and
that's, I love that range so oneday I'll own one of those
pieces.
Speaker 1 (22:49):
totally.
I want to talk about Love, agood tapware story.
I love this tapware brand for afew reasons, so Sussex they're
called.
I don't know if you're familiarwith Sussex Taps.
Speaker 2 (23:02):
I am.
Speaker 1 (23:03):
Yeah.
So their designs are beautiful,quite minimalist, but they have
a good range, something foreveryone, maybe.
I love the tumbled brass finish.
It's beautiful.
I love the design.
Number two is I love thetumbled brass finish it's
beautiful.
Speaker 2 (23:14):
I love the design.
Speaker 1 (23:15):
Number two is I love it that they're made in
Melbourne and they are B Corpcertified.
So it's really really difficultto become B Corp certified.
I don't understand all of it,but it means that you are really
following strict sustainabilityprotocol throughout the whole
business.
So they achieved that, which Ithink they're one of the only
(23:35):
tapware companies to achievethat.
Number three it's run by awoman.
Her name's Vanessa.
She is so gorgeous and lovely.
It was started by her father, Ibelieve, and so she's taken
over the family business andreally elevated that and they're
always they're always, uhgetting better yeah, so they're
just my they're my go-to tapwarecompany, so and they're
(23:59):
available, I think, throughoutaustralia.
Reese roger seller winnings allof that so yeah that's.
That's my tip for tapware andam I?
Speaker 2 (24:09):
I might be wrong, but I think they also do custom
colors, don't they?
I?
Speaker 1 (24:14):
think, so Do they have the ability to do that.
Speaker 2 (24:16):
Because they are a locally made I assume most of
it's made here, if not alltapware brand.
I think they maybe have alittle bit more leeway for
custom options compared to, say,a mass-manufactured, offshore
brand.
Speaker 1 (24:32):
Definitely, am I right?
I think so.
Well, you know, I I love thetumbled brass and when we had
our place we did all sussextapware and that the kitchen tap
.
I loved it like.
I know that's weird to say Iloved my kitchen tap.
No, I love taps too.
Speaker 2 (24:47):
Yeah, especially when you think you know it is the
thing.
It's the feel and the touch andthe way they work.
It actually changes your life.
Speaker 1 (24:53):
It's so satisfying and the touch and the way they
work it actually changes yourlife it's so satisfying, but
with the tumbled brass theyliterally tumble it in a big tub
of rocks to get that finishyeah, I was like oh, that's
interesting.
And when they are creating allthose brass taps, it's all solid
brass, all the mechanismsbehind and everything sound like
I'm going to spill here.
(25:13):
This is not a sponsored post, Ijust genuinely like sussex.
Speaker 2 (25:16):
Oh yeah, yeah, no, no , none of this is.
However, we are very open tosponsorship.
You're getting an.
I just double check.
I just double check that.
Um, yes, they do docustomisation.
Speaker 1 (25:32):
Yeah, yeah.
Speaker 2 (25:33):
That's what Sussex bespoke and that's, I think, how
they sort of got on my radarinitially was seeing like
coloured tapware when it firstbecame a bit of a thing and they
were one of the firstmanufacturers doing it because
they were able to, and I waslike, ooh, this is cool.
But I've done quite a fewtapware and bathroom wear shoots
over the years and theirproducts have always been I
(25:55):
don't know, they're very shootworthy, let's say.
Speaker 1 (25:58):
Yeah, they look good.
Speaker 2 (25:59):
Yeah, gorgeous, gorgeous.
Well, I'm a bit torn between mylast two, so I'm going to keep
the last two as interior related, but I'm going to throw in a
bonus.
That's sort of not interior,just because I'm obsessed with
it at the moment.
So my next one I'll talk aboutlighting.
I came across marlo lighter'sbeautiful work at melbourne
(26:22):
design week this year.
Um, some people may alreadyknow her work, but she just
exhibited this year thesestunning lamps that some of them
are really big, as in like kindof oversized, so accentuated
scale, and some are sort ofsmaller but still have the same,
I guess, feel of the largerones, just due to the scale
she's used in terms of the form,and they're called the toil
(26:46):
lamps.
They're made of calico, so it'slike a remnants.
I believe it's remnants becauseshe's quite she you may
remember she also did thoseremnant tables from could have
been the year before atmelbourne design week, you know
with the all the marble pieces.
So they're literal marbleremnants and they do remember
that little collection of tablesyeah
um, so I think I think hopefullyI'm correct on this, because I
(27:06):
couldn't find a lot of info whenI was doing my quick research
that the calico is also calicoremnants.
Sorry, marlo, if I'm wrong, butthey just have this rawness to
them but also the softness,because calico I guess has has
enough form to be able to createthese, you know, stunning
lights and they're kind of atake on a very traditional base
(27:28):
which is sort of slightly coneshaped and then a quite a
traditional lap shade in thatsort of again cone shape again,
but the all the seams areexpressed and kind of raw.
So where she's joined thecalico together, you get sort of
the you know the threadsstarting to pull apart and so
you get that just a little bitof texture on all those joins.
I don't know, they're just.
(27:49):
I think she just perfectlynailed this beautiful sort of
tactile look that's sitting inthis space at the moment, where
we're seeing a lot of softnesscome into interiors and they're
just that kind of perfectrepresentation of that.
So yeah, the Toil Lamps byMarlo Leiter she's a Sydney
designer, very cool woman, bythe way.
Speaker 1 (28:08):
Well, I remember seeing Also.
Yeah, she does seem really cool.
I remember seeing that lamp atthe 100 Lights exhibition during
Melbourne Design Week as well.
And I just had the urge tosteal it.
Speaker 2 (28:22):
I could have walked out with quite a few lights
there.
Same Mine was.
I'm throwing this in thereJordan Fleming's light that has
to sort of lean on the wall andit's made of um exhaust pipes
like chrome exhaust pipes.
Oh yes, she knows I want that,but it's a one of a kind and she
won't tell it.
Oh, oh, I love it that one's agood one too.
(28:45):
Yes, so the toil lamp.
Speaker 1 (28:46):
That's my next one that was a great exhibition and
there was such a greatrepresentation of female
designers in that.
Yes, I remember you working itout.
I know I was like I think it'slike 50-50.
I'm just not sure.
Let me just add it up we'redoing maths.
Speaker 2 (29:03):
We're there on the party the opening night party or
whatever it is and Lauren'scounting yeah.
Speaker 1 (29:07):
I'm like Go you guys for organizing that.
Because I have to say, like,when it comes to industrial
design, it is such amale-dominated industry, like
when I studied it.
Well, I studied interior design, but they put us a lot of the
time with the industrial designguys.
They were 90% Anyway.
So I thought that was reallyencouraging to see, like in the
(29:28):
past 20 years, how much that'sreally grown.
Yeah, I also have a lightingdesigner that I want to talk
about.
Yeah, that was reallyencouraging to see, like in the
past 20 years, how much that'sreally grown yeah I also have a
lighting designer that I want totalk about, yeah, and it's lana
lune, so you might know herpieces because she does these
kind of light totems.
So imagine like a, a sort of asphere at the top.
(29:49):
Underneath that you've gotmaybe, maybe like a cylinder,
and then you've got an elongatedsphere and they're sort of
stacked on top of each other.
So it's like a totem type oflight I'm waving my arms around
but no one can see me and thewhole thing is illuminated and
it looks like she uses differentmaterials for her lighting.
(30:10):
She uses lace like, almost likea doily lace in a new, a new
range work.
I remember now you'll know it,and fabric that's sort of
stretched across these, uh,these shapes.
Speaker 2 (30:22):
She's got timber in her pieces and um yeah again,
she used paper as well, becauseI'm trying to remember, because
I think some of her forms havethat feel of the Japanese
lantern, but just in a differentsort of different take.
But it might be fabric, itmight not be paper, I know.
Speaker 1 (30:40):
It says here that chooses those washi papers,
those Japanese papers, yeah,100%.
Speaker 2 (30:46):
Yeah.
Speaker 1 (30:46):
And I think that I adore the Vitra range of lights,
the Akari range.
Speaker 2 (30:54):
Yeah, me too.
They are gorgeous.
They're having a huge moment,but I think they've always been
beautiful A hundred percent.
Speaker 1 (31:00):
But it's so great to see something that's they're not
like the Akari lights, but theydo.
Speaker 2 (31:05):
You can see the inspiration of the background
where those came from.
Speaker 1 (31:10):
Yeah.
Speaker 2 (31:11):
So it's faithful to its references, kind of thing
you know it's like without it's,they're not a copy no way
reinterpretation or definitely.
It's probably more based on theskills of how those are made.
So you know, I love it whendesigners kind of, I guess, look
at craftsmanship and and howthings are made, you know in the
past, and take that and thenmake it into something of their
(31:33):
own kind of making.
I feel like that's potentiallywhere it came from definitely
hey, they look cool.
I'll do something like that.
It's usually to do with thatkind of like how, how it's
pulled together and what thematerials are, and stuff like
that you're right, like theseare very original, but there's
similarity in the, in thematerial perhaps, but also you
know the.
Speaker 1 (31:52):
As much as I love those kari lights, sometimes you
do see them a little bit oftenand this is a good, a good
alternative.
That's like oh wow, that looksnew, that looks really original,
like that's something differentthat can fill that same spot.
Speaker 2 (32:07):
I love it.
And also they're originalbecause because of that nature,
of that being like a totem thatyou described, and there's the
different shapes, I think youcan reconfigure them however you
like.
So if you buy one, it probablyisn't going to look like the
same one that someone elsebought, even though it's the
same elements.
So you mix it up or do it theway you like.
Speaker 1 (32:27):
So it's very, very clever, very clever.
Love her.
So she's based in Sydney andLos Angeles.
Oh clever love her.
So she's based in sydney andlos angeles.
Speaker 2 (32:36):
Oh, I didn't know that, yeah, it's quite cool.
It is very cool, isn't it?
Oh, um, well, so I said I'dstick in to interiors, even
though my fifth one wasoriginally not really interiors
related.
But I am looking at buying apiece of art at the moment for
myself.
I got given some vouchers fromfriends for a birthday and
they've been sitting there andI've been going.
I just go and look every now andthen because art for me is
(32:58):
something that I don't alwayssee what I want.
Like.
You can look at lots ofbeautiful art, but unless for me
it's like it hits this littleheart moment, it's not for me.
I might buy it for other peoplebecause it's beautiful and I
know it's going to work there,but for me artwork is like I
(33:18):
fall in love, like I go oh,that's it, that's the one.
So I just go and look every nowand then and go is there
anything at the moment that Ilike?
And I came across Louise Knoll'swork and because I don't have
lots and lots of money to spend,I was looking for sort of
smaller pieces and I think she'sactually about to have an
exhibition with Studio Gallery,but I came across these little
series of artworks that it'svery abstract, you can probably
(33:42):
imagine.
It has a lot of colour in itfor me, but it's quite
expressive.
Still.
There's a lot of texture in thework.
There's sort of lots of layerof colour, so there's like maybe
really strong pink underneathbut with other layers of color,
so you just get little bits ofthat strong pink kind of peeking
through, and then there'sreally dark moments as well.
(34:03):
So there's enough contrast thatit's not just pretty, it's
actually for me it's reallybeautiful.
Speaker 1 (34:08):
but oh, there's a little edge to it.
Speaker 2 (34:10):
Yes, they're stunning .
And then what kind of almostsold me, and I don't know about
you, but framing is part of theartwork in my opinion, like the
way you frame something, nodoubt, and these particular ones
.
So they're about like 50 oddcentimetres, probably about 40
something, but they're framed inthe fluoro, perspex, the pink
(34:30):
fluoro, and I was like yeah,yeah, okay, that that's great, I
want one of those.
So I'm in, I'm in the, I'm inthe midst of purchasing one.
I had there was a few in SydneyI went to have a look at,
because I always love to go andhave a look at the pieces.
It's very easy to buy onlinebut they never look exactly as
you think they're going to.
But it either confirms, or youknow or you go.
(34:51):
It's not quite right.
And I saw her work and I didn'tsee the piece that I wanted
because it wasn't there.
But I knew that I would likethe piece that I wanted, just
from looking at the way thosepieces kind of came together.
I'm a bit of an abstract artfan as long as it's expressive,
and for me there's still a storybeing told, but I get to decide
what the story is kind of thing.
Speaker 1 (35:12):
I love how you said that.
I love that.
Well, these are very lively andthere's a good energy in them.
Speaker 2 (35:19):
Yeah, energy is a good word.
Yeah, I love them.
Yeah, so I have been looking atthose a lot.
It's sublime.
Speaker 1 (35:26):
Love them.
There was another thing Iwanted to talk about, which is
about tiles.
I'm a little bit obsessed abouttiles because I went to the I
am so I literally dreamed aboutthe mecca flagship store.
It's so sad I did.
I had the best morning there Iwent, um, I took phil, took my
(35:48):
husband phil on on the morningafter the weekend it opened and
I was like some weird, like thesecurity guys were watching me,
like what is she doing, are youokay?
Because I was bending down.
I was looking at the floor.
They're like, oh, have you lostsomething, an earring or
something?
I'm like no, I'm just lookingat the floor.
They're like oh, okay.
Or sales assistants they wantedto help me.
(36:12):
I did not want to talk aboutskincare or makeup, I'm just
like looking at the joinery andeverything.
I like just soaked it up.
I.
I want to go back there, butI'm gonna go back there on the
weekend I I went to look as well.
Speaker 2 (36:25):
I won't hijack your tile story, but yes, it is
amazing.
For all those reasons it it'sworth it.
Speaker 1 (36:31):
Well, I mean, it was just on so many levels.
It's, the fact that adepartment store's opened up in
the middle of Melbourne is justquite a miracle, because it's a
bit like a tumbleweed kind ofvibe sometimes down Bourke
Street.
Maya David, I love David Jones,but it's just not what it used
to be.
Speaker 2 (36:49):
They've lost their.
You know, when I used to go, Iused to trek into the city.
I grew up in the country andI'd go often into the city
because I didn't really want tobe in the country, I wanted to
be in the city.
And those, the stores then,were iconic and designed very
well and beautiful.
And you know, yes, there wasalways like one floor that was
(37:12):
maybe a bit hectic, but always,in particular, that ground floor
that you walked into was alwaysstunning.
And I feel like they'vedefinitely lost that.
They've come a bit kind ofcommon and I don't know common's
a terrible word sounds like I'mlooking down my nose.
I just mean they're not specialanymore, like I think it's, and
that's what I was excited aboutwith the Mecca store was that
building itself has been givenno love for so long.
(37:35):
And did you hear the storyabout them taking down the
covers of the windows?
And how, all of a suddenbecause those windows are
amazing, the big arch windows,yeah, at the front of the
building, but they were allcovered because department
stores didn't have windows right, everyone, it was all blocked
off.
I think it was the old mensweardavid jones menswear building
(37:56):
for a while.
So when they pulled those down,the hoardings that were, they
were like, oh my god, and allthis light flooded in.
So there's all these greatstories, and did you also notice
that there's all female artistsas well?
Speaker 1 (38:08):
yeah, the artwork is amazing.
There's like a massive judithwright.
She's one of my favoriteartists and it's set against
this wall color.
I'm going to take my fan deckin there.
I'm just going to go for it.
Speaker 2 (38:23):
I'm going to build out the finisher schedule.
Speaker 1 (38:25):
Oh, it's so gorgeous, I mean yeah.
Speaker 2 (38:27):
It is good.
Speaker 1 (38:28):
I just loved it.
So it took me down this huge,big rabbit hole of flooring
which I have been just diving infor, because I think that if
you go there it's not aboutcopying what the floors are,
it's just that whole excitementof matching and contrasting
pattern, color, texture.
It's really cool.
(38:49):
So I have gone looking atflooring, especially terrazzo.
I mean terrazzo is not anythingnew and I mean in the building
there's literally that existingterrazzo which I was just losing
my mind over how special thatwas.
But I found some beautifulflooring tiles from Tiento, from
Riva Ceramics, I think she'sdown in Brighton, I'm not
(39:10):
familiar.
I just met her the other day andI loved what she has Lots of
handmade or hand-painted Italianceramic tiles, artidomus,
amazing marble pattern tiles,tiles of Ezra, you know, amazing
Zalige patterns, like.
It's just so exciting and Ithink that you just get so much
(39:30):
joy from experiencing a spacethrough a patterned floor.
I do, anyway, obviously.
Speaker 2 (39:36):
I need to calm down.
Speaker 1 (39:38):
I need to calm down.
Speaker 2 (39:39):
I totally get it, especially floors, and I have a
bit of an obsession withterrazzo, kind of I don't know
what.
It has always been, I think,because I love that kind of
pattern.
I like kind of graphic, whetherit's dots stripes, I like those
kinds of pattern.
I like kind of graphic, whetherit's dots stripes, I like those
kind of patterns.
I've always loved them.
So for me, before I was even ininteriors, I had a weird
(39:59):
obsession with terrazzo, likehow cool it was.
I just thought I was the onlyone who thought it was cool.
Well, I mean to be fair, itwasn't cool for a while.
Well, it's actually such a whyyou see it in all these old
buildings is?
It's actually such a?
It's just why you see it in allthese old buildings.
It's a super practical, very,very durable floor.
So, you know, and it wears inthat beautiful way.
(40:20):
Like you know, I guess, whenyou're in italy or europe, then
you really see it at itsabsolute best.
But yes, the one of the firstthings I noticed in the mecca
stall was the tarats yeah, soremember, like going to cole's
new world as a kid it was likethat floor, these big
rectangular checkered pattern
Speaker 1 (40:38):
and actually years ago I went to a terrazzo factory
in melbourne where they madeterrazzo.
It was so interesting becausethey made floors for like the
italian restaurants on ligonstreet they are still there,
yeah so wild?
Have you seen greg natalia'stile range?
He does great.
Speaker 2 (40:55):
I haven't seen it in person, but yes, I don't think I
have either, but just onlinethe patterned to right.
Speaker 1 (41:01):
So, as you say, when you said stripes, I was like, oh
he does.
Amazing stripes, graphicpatterns, amazing mosaic
patterns as well.
Speaker 2 (41:08):
It's really fun I should order some samples same.
Speaker 1 (41:11):
Yeah, they're from pirelli, I think, perini.
Yes perini, oh, perini, periniand di lorenzo, I think, in
sydney.
Anyway, it was fun well, funnyenough.
Speaker 2 (41:22):
My bonus thing that I'm obsessed with at the moment
is to do with mecca oh, weirdlyso, um hi, I was talking to a
beautiful woman in milan thisyear and I just I was so
distracted I couldn't listen towhat she was saying because she
just smelled so good and I hadto say to her I'm sorry, what is
(41:43):
that you smell?
I don't need.
I don't think I've ever smeltanything like this, and she was
very reluctant but did tell mein the end what it was.
She was sort of a bit, a littlebit gatekeeping, but then going
it's this?
And she did this thing whereshe kind of like, showed me the
bottle and I went I can't eventake a photo and when I took the
photo she pulled the bottleaway, not deliberately, and I
(42:04):
didn't want to say to her Ididn't get it, cause I was just
embarrassed at that point, tothe point where I was taking a
photo of her perfume, and so Ihad this blurry photo of the
perfume and all I knew was likethe color of the bottle and that
it was apparently exclusive toMecca, and so I had to go down
this deep dive of trying to findit.
Anyway, I found it andunfortunately for me it is very
(42:25):
expensive um, I'm surprised, I'mshocked why does this?
Speaker 1 (42:31):
happen to me.
Why do?
Speaker 2 (42:32):
I like beautiful, expensive things.
Um, you know I'll get it oneday, but I don't.
I don't, do not own a bottle atpresent.
So when I went into the store,one of the first things I did
was okay, I'm gonna go smellthat and spray it on myself and
the days after you know, likethe pants I was wearing were
just sitting in my cupboard andI'd walk past and I'd go there
(42:52):
it is.
So it's quite.
It's quite.
It's nothing like I'm normallylike a citrus based scent person
.
It's like a kind of almost haslike a vanillary tone and
there's a little bit of sort ofdirtiness to it.
I don't know how I'll look uphow to describe it.
It's probably a little bit of atobacco, which is not generally
my vibe at all.
(43:13):
But the name of it is um maisonfrancesse.
Did you say francesse?
Or francais, francais, maybefrancais caugion, caugion, it's
a french name and and theparticular one because there's a
few different ones in thatbrand is it's oud o-u-d is the
(43:33):
name of the actual, which Ithink people will know what that
is.
So it's kind of a spiced vanilla.
It is woody but it's very, it'squite, actually it's probably
quite.
What do you call it?
Uh, women and men could wear it, kind of thing yeah, right yeah
, cool anyway.
So that's my side note of Ithink about it.
That's the sort of thing I'mprobably having dreams about at
(43:54):
the moment I'm excited.
Is owning that perfume.
Speaker 1 (43:56):
I don't know why I've become obsessed, so we should
start a GoFundMe for oursessions.
Sessions, I love that idea $881.
Speaker 2 (44:06):
Do you think people would feel sorry?
Speaker 1 (44:07):
enough for us.
Yeah, yeah, there's a link inthe bio.
Speaker 2 (44:11):
That's funny.
Speaker 1 (44:13):
Link in the show notes.
Yeah, they look sublime, thosefragrances.
You know, the other night Iwent to a event for the Italian
Center of Commerce or somethinglike that in Australia and it
was about design and it made me.
They had fragrances there andit was one of those things that
I thought oh, how come we don'tsee many Italian fragrances,
(44:34):
when they have amazingfragrances?
I got a sample they gave mesome on the way out, which was
very cool of them, and it's a aroom spray, because I know that
you're not a big fan of scentedcandles.
Speaker 2 (44:45):
but I do like the spray.
Speaker 1 (44:47):
Okay, I could do a room spray it's called Dr
Varanges and it's from Florence.
I'm probably obviouslypronouncing that terribly, but I
thought that was a supergorgeous gift that they gave me
on the way out.
And they also have a AtelierVersace fragrance line.
It's not your usual one thatyou see in Maya, it's more of
the high-end line and, as yousaid before they last the
(45:11):
fragrances.
They last.
Speaker 2 (45:12):
I think that's a really good sign of it.
You don't need as much.
No, I could probably still haveit wash those pants.
I reckon if I went upstairs nowit'd still be a lovely little
smell there.
Speaker 1 (45:23):
Yeah, love it.
Have a nice smell of your pants.
Speaker 2 (45:26):
That does sound a bit weird, but smelling the crotch
and I'm like it's's not that,it's definitely the perfume.
Speaker 1 (45:35):
You had to go there.
You had to go there sorry,sorry, everyone um so anyway
well, that was good.
Speaker 2 (45:44):
We both had fragrance stories yeah, yeah, I love it
oh okay, oh, thanks, it's beengood.
What should we do should?
Speaker 1 (45:52):
we put a little like story together or something on
our insta, if you wanted to seewhat we're talking about.
Yeah, um, I think I think weshould do that or just have your
.
Maybe you've been googling andstuff as you've been listening,
but thanks for thanks forjoining us on this chat I know
it's.
Speaker 2 (46:10):
Hopefully it was descriptive enough not to have
the visuals right in front ofyou, but yes, we'll definitely
yes we'll put links in we'll putlinks in we'll put it on the
socials yeah, and you know what.
Speaker 1 (46:20):
Tell us what your current obsession is as well.
I want to know what are we?
Speaker 2 (46:24):
yeah.
What are we frothing over?
What do you love?
Speaker 1 (46:27):
yes, share, share, yeah good thanks, brie thank you
we've got the utmost respectfor the Wurundjeri people of the
Kulin nation.
They're the OG custodians ofthis unceded land and its waters
, where we set up shop, createand call home and come to you.
From this podcast today, a bigshout out to all of the amazing
(46:49):
elders who have walked before us, those leading the way in the
present and the emerging leaderswho will carry the torch into
the future.
We're just lucky to be on thisjourney together.
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