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The Business Of Design People Products Issue 55

Interface DESIGN THE MASTERS preneur OF BIOMIMICRY

Marnie HammondDonnelly: managing supply chain pressures

MELBOURNE INDESIGN 2014

THE INDUSTRY’S premiere design event IN REVIEW

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editorial

H

editor Sophia Watson

inside word

ow many times have you been enthralled by a good story?

Maybe you stayed up late to read a novel that you couldn’t put down, or watched a movie that you couldn’t switch off?

Perhaps you pushed yourself harder because you heard a story about a colleague’s success, or you changed your opinion after reading a distressing story in a newspaper? The point is, stories can change the way we think, act, and feel. They can form the foundations of an entire workplace culture, have the power to break down barriers and turn bad situations around. Stories can capture our imaginations, illustrate our ideas, arouse our passions and inspire us in a way that cold, hard facts often can’t.

When we hear a story that touches us profoundly, our lives – and businesses are suffused with meaning. Here, stories can be powerful tools in business, and successful enterprises use them to engage their teams and their market. This issue, as you’ve probably guessed, looks at the idea of storytelling as a tool for the business of design. Our regular columnist Byron George for instance, looks at when storytelling becomes “bullshit”; justifying or selling a design that isn’t up to scratch, pg 23.

Also, this issue of IN-DEPTH looks closely at business storytelling – we explore when you should use stories, when you shouldn’t, how storytelling can be effective in communicating brand identity or a local design language, leading a team and we think about what kind of story you should tell to get the results you want. Featuring some great case studies from Interface, Apple, Ross Didier, Aesop, Bolon and even the Victorian Opera! pg 81.

Storytelling aside, there is much, much more happening and emerging in the industry than has been in the last five years. Social media for example, is starting to play a much larger role in areas such as product development; where businesses have unique (not to mention free) access to their market. Case-in-point, the Karton Group recently collaborated with Melbourne-based artistic studio East Editions and local graffiti artist Vans The Omega to develop The Egg Chair – a standard Karton product that was customised and painted by the two creatives to demonstarte its bespoke nature. The idea was sparked from the Karton Facebook’s most frequently-asked-question from its users: “Can we paint these?”. In response to the query, Karton took their latest product development and experiential marketing campaign direct from the (social) horses’ mouth. Find out how they did it in this issues INDUSTRY section, pg 28.

Here at DQ, we like to discuss the lovely, exciting areas of our local industry – but we also take pride in giving a voice to the notso-lovely side. Let’s face it, design as a business isn’t without its problems, and DESIGNPRENEUR Marnie Hammond-Donnelly of Café Culture + Insitu, isn’t afraid to say so. Acknowledging shifts in consumer behaviour and supply chain pressures, HammondDonnelly offers up some sage wisdom of how to curb the heat and be secure enough to rely on your team, pg 70-71.

And now to the fun stuff; the weekend that was Indesign The Event: Melbourne 2014! We bring you exclusive coverage from Australia’s premiere event in design, including the best ideas, products, spaces and places, representing up-to-the-minute industry activity, pg 97. And last but not least, what is industry cohesion without a good party? We’ve also included this quarters hottest parties behind the scenes, including Catapult, CULT, Humanscale + Schiavello and many more! Don’t miss the highlights and whose-who in this issue INTERACT, pg 106.

DQ Editor Sophia Watson, dq@indesign.com.au

Editorial Director Paul McGillick, editor@indesign.com.au

CEO / Publisher Raj Nandan, raj@indesign.com.au

Senior Designer Alex Buccheri, alex@indesign.com.au

EDITORIAL ASSISTANT & Online Editor Tess Ritchie, tess@indesign.com.au

PA to Publisher/subscriptions Elizabeth Davy-Hou, liz@indesign.com.au

Junior Designer James McLaughlin, james@indesign.com.au

Contributing Writers Alice Blackwood, Anna Guerrero, Annie Reid, Ben Morgan, Byron George, Carly Barrett, Elana Castle, Kerry Awerbuch, Leanne Amodeo, Lorenzo Logi, Marg Hearn, Mandi Keighran, Nicky Lobo, Peter Sackett, Tess Ritchie

Operations DIRECTOr Adele Troeger, adele@indesign.com.au Sales Director Marie Jakubowicz, marie@indesign.com.au

EDITORIAL and Design INTERNs Frances Fewster, Gemma Stoner

Accounts Gabrielle Regan, gabrielle@indesign.com.au Vivia Felice, vivia@indesign.com.au

Junior Designer / Ad traffic / CREATIVE COORDINATOR Kelsie Barley, kelsie@indesign.com.au Contributing Designer Emma Duval Consulting CREATIVE DIRECTOR Christopher Holt, HOLT Design Production Manager Sophie Mead, sophie@indesign.com.au

Financial Director Kavita Lala, kavita@indesign.com.au

Events and Marketing Tegan Schwarz, tegan@indesign.com.au Angie Boustred, angie@indesign.com.au Online Radu Enache, radu@indesign.com.au Ramith Verdheneni, ramith@indesign.com.au Ryan Sumners, ryan@indesign.com.au Advertising Enquiries Marigold Banta (61 2) 9368 0150 marigold@indesign.com.au

BEHIND THE SCENES photography Kelsie Barley + Gemma Stoner

On the cover ‘ THE LIVING OFFICE’

by Interface featuring the Human Nature Collection. interface.com Featuring the ‘Fable Table’ designed by Ross Didier, available from Cafe Culture + Insitu. cafecultureinsitu.com.au Foliage and flowers provided by Buds&Bowers, Surry Hills. budsandbowers.com Birds nests & moss bunnies provided by Candy Bar Sydney. candybarsydney.com.au Creative concept Christopher Holt, HOLT Design holtdesign.com.au COVER Photography Tim Robinson timrobinsonphotography.com HEAD STYLIST & CREATIVE COORDINATOR Kelsie Barley ASSISTANT STYLIST Gemma Stoner

Design Quarterly (DQ) is a wholly owned Australian publication, which is designed and published quarterly in Australia. DQ is available through subscription, at major newsagencies and bookshops nationally. Subscriptions – never miss an issue by subscribing online at indesignlive.com, faxing us at (61 2) 9368 0289, or emailing subscriptions@indesign.com.au. Design Quarterly is a quarterly publication fed by who is doing what in the design industry, championing the personality behind design. It aims to promote and create the next generation of design as well as supporting those designers who are more established. The editor accepts submissions from writers/photographers/illustrators for editorial consideration. We encourage those working in the design industry to submit news and announcements, so we can keep readers abreast of your new developments. Editorial submissions should be made out to the editor dq@indesign.com.au. Any digital images should be supplied by email, downloadable link, or on CD at 300dpi, minimum 20cm wide. Please also supply full contact details and captions with images. Contributions are submitted at the sender’s risk, and DQ cannot accept any loss or damage. Please retain duplicates of text and images. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transmitted in any form or by any other means, electronic, mechanical, photocopying, recording or otherwise. The publishers assume no responsibility for errors or omissions or any consequences of reliance on this publication. The opinions expressed in this publication do not necessarily represent the views of the editor, the publisher or the publication. Magazine Stock Our printer is Environmental Management System ISO14001:2004 accredited. Printing inks are vegetable based. Paper is environmentally friendly ECF (elemental chlorine free) and recyclable. Printed in Singapore. Published under licence by Indesign Publishing Pty Ltd ABN 96 101 789 262 Head Office, SYDNEY Level 1, 50 Marshall Street, Surry Hills NSW 2010 | (61 2) 9368 0150, (61 2) 9368 0289 (fax) | info@indesign.com.au | indesignlive.com MELBOURNE Suite 11, Level 1, 95 Victoria Street, Fitzroy VIC 3065 SINGAPORE 4 Leng Kee Road, #06-08 SIS Building, Singapore 159088 | (+65) 6475 5228, (+65) 6475 5238 (fax) HONG KONG Unit 12, 21st Floor, Wayson Commercial Building, 28 Connaught Road West, Sheung Wan, Hong Kong | indesignlive.hk

contents

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15

influencers

Industry

On the Move 5 Mins with...EAMES DEMETRIOS DEBRIEF – 3D PRINTING + INTELLECTUAL PROPERTY OPINION – Byron George A Perfect 10 – INTERSTUDIO

MARNIE HAMMOND-DONNELLY CAFE CULTURE + INSITU MATT SHEARGOLD MATT SHEARGOLD DESIGN JESS SCULLY VIVID SYDNEY

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IN DEMAND DQ Debates 18.

COLOUR-BURST Products MIXED MATERIALS PRODUCTS URBAN COUTURE MONO PERTH PARISI XIMULA DESIGNER RUGS SCANDINAVIAN BUSINESS SEATING DISTRICT

PROFILE TECHNE ARCHITECTURE+INTERIOR DESIGN SOMETHING BEGINNING WITH PHILIPPE GUICHARD

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iNteract

INDESIGN THE EVENT: MELBOURNE 2014 CLERKENWELL DESIGN WEEK 2014 INDESIGN DIRECTORS EVENING CATAPULT DESIGN CULT + ADAM GOODRUM HUMANSCALE + SCHIAVELLO CHAIRBIZ SYDNEY CAFE CULTURE + INSITU + Ross Didier

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In-depth

STORYTELLING How RELEVANT CAN ‘STORYTELLING’ BE TO the business of design?

Melbourne Indesign 2014 97.

The official source of the industry’s premiere event in review

M U S E N OC R

U L T O V ER ION

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words Alice Blackwood

Clockwise from top left / Carnivale GAYTM’s project during Sydney Mardi Gras 2014, Project & Artistic Director: The Glue Society (James Dive & Pete Baker) Production Company: Revolver/ Will O’Rourke, Agency: Whybin\TBWA Group Melbourne; REMIX Sydney panel led by Jess Scully

s consumers of today we are savvier than ever. We reject what we know as false, and choose to invest our time and money into things we recognise as being real, genuine and authentic. But how is this relevant to the way brands operate and communicate, particularly in creative industries and disciplines?

“It all starts with the way we live and interact,” says Deanna Coleman, director of REMIX Sydney. And for brands looking to step up into this next generation consumer market, it requires entrepreneurial spirit and an ability to engage with consumers at a social and cultural level.

REMIX Sydney is the Australian instalment of this popular global summit which, through numerous international speakers, explores the intersection between culture, technology and entrepreneurship.

Following Sydney’s May 2014 summit, Coleman reflected on what she calls “the future of highdensity living.”

“As we start moving towards higher-density living, we begin to inhabit that space that is the social/ public realm. And in that space, what is going to be owned by the public and what will be owned by commercial advertisers?” Coleman poses.

As a global culture, she says, we are no longer so receptive to sales messaging. “There is a theme coming along here: if we start living differently we’re going to start representing ourselves differently in a cultural sphere. And technology will be integral to that and add value.”

Tech start-ups and social enterprises paved the way, 10 years ago, for what is now known as the cultural entrepreneur. “There’s a massive appetite for consumption of arts and culture,” says Coleman. “In the UK, it’s an industry worth $90 billion in export.”

And while traditionally a cultural entrepreneur might ask for a grant, today we have access to online

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audience building platforms and tools that allow us to build our own authentic brand stories and messages – something that resonates strongly with discerning, channel-surfing consumers.

Important here, is the way in which we (as users), consume online content. The ‘drop-in desktop’ use against the meteoric rise in mobile and smart devices proves that people are engaging across multiple platforms and devices in numerous ways. “People are consuming longer form content via their mobiles,” says Coleman, “and they certainly don’t want to be advertised to; they want to be engaged and entertained.”

To date it’s seen major brands, like QANTAS and ANZ for example, stage experimental digital and real time ‘PR moments’ that intelligently align their brands with experiences that resonate with audiences on a social or cultural level.

“The way in which we interact with information is genuinely changing,” confirms Tom Uglow, creative director of Google’s Creative Lab and speaker at REMIX Sydney 2014. “We access information in an instantaneous and fluid manner,” he says. “While 15 years ago we visited a library and borrowed an instruction manual, today we access information in numerous forms – from academic papers through to YouTube how-to’s.”

But there’s also danger in chasing novelty, says Uglow. “As we move forward, the problem of the internet is that it reduces human interaction [and] most humans like life interaction.”

The significance of digital tools to business and brand are their ability to make messy or complicated things easy. “It’s not about the latest, cool channels, it’s about understanding your business and the service you provide to people, and using the internet to smooth the edges of your customers’ experience,” says Uglow. But the power of organic tools can’t be underestimated. “We are the guinea pigs for this age of information, we need to allow technology to move through this very clumsy phase, toward a more human experience,” he says. “We need to better understand how to use digital to augment what we already love and like in everyday life.”

For creative and cultural entrepreneurs the opportunity lies in their courage. “Putting yourself at the edge of what is possible and pressing those limits,” says Uglow. Encouraging words for brands looking to build an audience and form meaningful engagements with modern, tech-savvy consumers.

REMIX SYDNEY culturelabel.com remix@culturelabel.com

INDUSTRY

with Eames Demetrios of The Eames Office

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hat has been your journey as an Eames Office custodian?

What I saw was that if someone didn’t pay attention, the things we cared about would fade away.

After Ray [Eames] died, my mum basically inherited everything, which included some wonderful things, but also included a lot of responsibility. When Ray died I realised we had to document this amazing office and studio where they did their work, and in the process of making the [901 after 45 years of working] film, it opened my eyes up to the fact that I really care about the work; the ideas as well as the objects. Authenticity is extremely important to us. We protect it, we fight for it, we work hard for it – and that’s great, but it’s also important to share an idea like the “guest-host” relationship for example, and hoping that whoever hears about it, takes it into their life and ultimately makes their life better and richer. Those things are really important to us; to me. One of the paradox’s of being a steward of work like this is that, on the one hand, you have the conservative part of it, where

you’re trying to make sure these objects are done right, the way they were intended – but also, the way Charles and Ray were, you wouldn’t be doing them a service if you only looked backwards. So that’s really where a lot of the Eames Office education initiatives come from. For example, we do workshops about scale, which are based on The Powers of Ten film, communicating one of my theories that scale is the new geography, and if you don’t understand scale it’s a form of illiteracy. We built a lot of exercises and workshops around this idea. The ‘Teaching Scale’ workshop for instance, is basically a program where a group of people come together and make their own ‘Powers of Ten’ experience. These workshops raise some questions about getting people to understand the value of making which, at its core, is about our strong beliefs in authenticity.

How have the ideas you’ve been developing since childhood; your memories with your grandparents and more recently working with the Eames Office, impacted on your direction as a film maker?

I believe they were very good at surrendering to the design journey; to play with an idea and follow it to see where it led them.

It was an important lesson for me that they didn’t just do a drawing and say: “well if we don’t make exactly that then why bother?”

So many of their designs have been a lesson in adaptive practice when it came to material, form, function – everything they did was an evolution – both within their lifetimes and still even now.

In my documentaries, I don’t know exactly where I’m headed or where we are going to end up. I’m never really dialled into the final result.

I really can’t predict where it will land, or if it will ever land. But, like Charles and Ray, I’m excited to go on that journey.

Read the full interview on Indesignlive.com

interview Sophia Watson

Eames Office products are available in Australia through Herman Miller retailed by Living Edge, and Vitra retailed by Space Furniture.

THE EAMES OFFICE eamesoffice.com

This page / Eames Demetrios, Film Maker & Eames Office Custodian

words Nicky Lobo

PERFORMING POP–UP The explosive trend toward ‘pop-up retail’ is beginning to leak over into disciplines outside of design, as was the case with the PVC-pipe retail emporium by SIBLING for indie-pop band Architecture in Helsinki.

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f all the industries that have been affected by developments in technology and globalisation, retail is right up there. And the ways in which the landscape is changing depends heavily on the specific category of retail – whether it be fashion, product, food or art.

Music, for example, has been revolutionised by the internet. With a limitless number and diversity of artists and songs available for download, there is every reason to question the need for physical retail stores. However, to look at the same situation from a different perspective, it calls for an even greater need to represent creatively in a physical, experiential way.

Traditionally, this has taken place in the concert arena or the much larger festival.

Today, pop-up retail concepts are being explored as a solution to being seen-and-heard in an endless sea of digital information.

And some savvy players are capitalising on design and architecture (wait for the pun) as a way to stand out from the crowd.

Architecture in Helsinki (there it is!) is one forward-thinking example. Cameron Bird, of the Australian indie-pop band says, “Music is such a multi-faceted art form and we felt that by creating an interactive, physical space for our music to be listened to, we can present the album with visual and tactile components.”

Working with SIBLING, the Now+4EVA retail concept was born to launch the new album from Architecture in Helsinki – part gallery, part listening

space and part bespoke retail emporium. It seeks to re-configure and re-imagine the possibilities of music retail, and re-define music as a collective and physical experience rather than something experienced individually.

Located in the Melbourne Central shopping complex for a week in early April this year, the brief was “to provide a physical manifestation of Architecture in Helsinki with all the brightcoloured splendour this entails,” describes lead architect on the project, Amelia Borg.

Working within this massconsumer environment, a tight timeframe and budget, SIBLING devised a monochromatic backdrop, taking inspiration from the form of the bamboo flute or pipe organ. “It’s not so subtle,” Amelia quips of the PVC pipes that become both spatial and decorative device within an unremarkable glass box container provided by the shopping centre.

The cylindrical forms became a key part of the design response, metaphorically representing the band’s music, while also being easy to install – a key

consideration with the short timeframe of just a few hours.

While framing a sculpted view from the outside, individual pipes also proved a cosy display for the bright and colourful merchandise.

Architecture in Helsinki further explored creative strategies in the NOW + 4EVA project. As well as the new album on Vinyl, CD, Cassette and USB, the rainbow merchandise also included collaborations with clothing label Kloke, bags by Witu, jewellery and accessories by Dale Hardiman, 3D candy versions of the band by Red Balloon via Lucy McRae, Socks

by Tightology and Nail Polish by Kester Black.

“The pop-up store for Architecture in Helsinki is a great way to extend the experience for its fans rather than rely on performance and sound,” agrees Borg. “Placing the shop in a busy shopping centre brought the band to a whole new gaggle of fans.”

SIBLING siblingnation.net (61 3) 9417 1067

Designed to disguise words Tess Ritchie

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lready a designer and consumer preferred application in NorthAmerica and Europe, where it is “simply unacceptable in a highend kitchen to have a hole in the wall with a refrigerator pushed into it”, integrated refrigeration is fast becoming indispensable in the Australian kitchen du jour. Sub-Zero’s New Generation products mark a significant step forward in the field of integrated refrigeration.

A result of extensive market research in Europe and North-America, the new series is more flexible, has a range of added features and slips even more seamlessly into any bespoke design.

While the term primarily refers to a products’ ability to sit flush with the joinery, ‘integrated’ should be understood in conjunction with their technology; “The two are interlinked,” says Nadia Bridgeford, marketing manager of Sub-Zero Wolf Australia, “as without the technology, the refrigerators would not be able to be integrated from a design perspective.” To this end, the term best describes Sub-Zero’s approach traditionally, where – like their original design – the New Generation works entirely from the front-end.

This technology/design feature allows the unit to be disguised.

“Sub-Zero refrigerators have been designed to be integrated and fixed,” says Bridgeford, and by having a front access venting system and mechanic access, they can sit hard against the wall and maintain an uninterrupted finish. Here, there is a departure from standard refrigerators,

Clockwise from top left / Architecture in Helsinki retail pop-up, Melbourne by SIBLING, Photo: Tobias Titz; Integrated Column Refrigeration by Sub-Zero Wolf Australia; Polly Jewllery designed

by Dale Hardiman for Architecture in Helsinki; Now + Forever drink bottles in piping; Architecture in Helsinki figurines designed

by Red Balloon via Lucy McRae; Album on vinyl; Architecture in Helsinki/Lego USB, Photos: Tobias Titz

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where the venting system and mechanics at the rear need space surrounding the unit for hot air to be released, disabling the possiblity of a streamlined finish. The New Generation responds to an industry push for hidden amenities, with more size and width options.

Rather than being built-in, refrigerator drawers are available that can be seamlessly built in with flush, matching cabinetry.

Added features – such as touch-screen controls and internal water dispensers – demonstrate the advancements in integrated technology we are beginning to see industry-wide as a means of solving common problems. The patented, NASAdeveloped technology in the New Generation series, clears the refrigerator of unwanted gases, odors, ethylene gas and pathogens such as: airborne viruses, mold and bacteria, and is the most advanced food preservation system of any brand.

Sub-Zero’s focus on “advancing the ‘science of freshness’ and refining the art of kitchen design” is clear, and serves as the driving force behind the integrated refrigeration concept as Bridgeford explains: “We believe integrated refrigeration in Australia is definitely the way of the future, and we will continue to watch the global design community and consumers develop sophisticated kitchens, and invest more in this part of the home.”

SUB-ZERO WOLF AUSTRALIA subzerowolf.com.au (61 3) 9421 0232

BRIGHTEN UP THE BOARDROOM 01 SEARL CHAIR Design, Brand & Supplier / Konfurb Konfurb.com (61 7) 3852 3925 02 ELMONORDIC Design / Georgina Wright Brand / Contemporary Leathers Supplier / Instyle Contract Textiles instyle.com.au (61 2) 9317 0222 03 BARISOL PRINT Design / In2ski Brand & Supplier / Barrisol barrisolsydney.com.au (61 2) 9660 6044 04 3DEE Design / Tobias Caratiola Brand / Aeris Supplier / Healthezone Pty Ltd swopper.com.au 1800 615 666 05 Blazer, Hebden, Craggan Design, Brand & Supplier / At Work* With Camira atworkwithcamira.com 1800 173 209 06 Linea Cabinet Design, Brand & Supplier / Linea by Planex planex.com.au (61 3) 8795 1100 07 SABRINA TASK CHAIR Design / Giugiaro Design Brand / Okamura Supplier / UCI uci.com.au 1300 824 824 08 PILL Design / Alexander Lotersztain Brand / Derlot Editions Supplier / Stylecraft stylecraft.com.au (61 2) 9355 0000 09 TEXTURE BLACK, GRAPHIC Design, Brand & Supplier / BOLON bolon.com/au (61 3) 9827 1311 10 MC2 CYCLE Design / Lorenzo Martone Brand / Martone Cycling Co. Supplier / Arthur G arthurg.com.au (61 3) 9543 4633

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interview Sophia Watson

photography Sarah Landro

Joe Merlino, Managing Director of the recently rebranded DISTRICT, illuminates the value of research, taking risks and embracing the challenges of company shifts whole-heartedly.

Clockwise from top left / New DISTRICT showroom, Perth; Party guests at the Perth showroom opening; Perth showroom insitu, Photos: Sarah Landro

IN DEMAND

clients would understand and culturally align with.

The largest obstacle here was not just changing the company name and branding, but also opening in Melbourne at the same time.

Starting in Perth and moving to Melbourne is exciting, and while there have been – and surely will be – challenges that arise, our new model has us well positioned to respond tactfully.

What kind of research went into the new development and visual language?

The branding company we engaged worked alongside us for a long period and got to know us, and our clients. This is where our typeface and ‘glyphs’ originated

from; extracting these shapes from blue prints of architectural drawings, using something that our clients would relate to as the signature language exclusive to the new DISTRICT brand.

What does the initiative mean for your future as DISTRICT, and how are you planning to launch and integrate this new image in the Australian market?

We launched the name on our home-ground, Perth, where our clients are like old friends to us now, it wouldn’t have felt right not to celebrate this exciting new journey with them first.

We also recently launched at Indesign: The Event – Melbourne 2014, because why not use that great platform to launch into Melbourne with the entire industry present? We look forward to getting to know the industry in Melbourne, and plan to be very active in the region!

This DQ PATRON editorial is kindly sponsored by DISTRICT.

DISTRICT district.com.au (61 8) 9388 1855

Why was the decision made to rebrand Table&Chair to DISTRICT? When I took over the company in 2008, Table&Chair was a high-end residential and hospitality supplier – which is not traditionally a typical mix.

I wanted to move the direction of the business toward the corporate/commercial sector and build relationships with Perth’s leading architects and interior designers. Now, we offer a range that extends well-beyond just tables and chairs, so we felt the time was right to create a brand that better represented our current business model.

How was the project accomplished, and what were some of the key factors you considered when rebranding?

We wanted to create a brand that would be recognised nationally as a company that could provide a solution to any specification whilst maintaining our young, energetic culture.

Visually speaking, we didn’t just want a logo, but rather a story that would still give our company the personality it deserves.

While the shift was definitely the natural progression for our company, we were still reluctant at times to let go of the strong history attached to the name Table&Chair.

That was a huge consideration in getting the project right, and was one of the main reasons we took the entire process very seriously; having countless staff brainstorming sessions on how the execution could and should be done. We wanted to get some true professionals involved too, and met with several branding companies in order to find the right match.

What were some of the challenges throughout the process?

Coming to terms with the fact that we were distancing ourselves from a name that has been in the industry for 25 years was a tough one, not to mention creating something that our

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This page / Jess Scully, speaking at Vivid Sydney, Photo: Daniel Boud

JESS SCULLY

INFLUENCERS

words Leanne Amodeo

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nyone who attended this year’s Vivid Ideas festival in Sydney would be hard-pressed to choose a favourite speaker. During the extensive 18-day program of talks and workshops there were many highlights, including San Francisco-based designer Gadi Amit, Australian furniture company co-founder Russel Koskela and director of the self-assembly lab at MIT Skylar Tibbetts. These three global leaders exemplify the calibre of invited speakers, underscoring the program’s diversity.

Jess Scully is the person at the helm of what is quite possibly Australia’s most culturally significant program of thinkers.

The Sydney-based Vivid Ideas festival director has grown the role into existence since the event’s modest inception as Creative Sydney in 2009. Six years on and she is still responsible for curating the program, which this year featured Australian and international speakers from across 14 industries.

“The festival is really about celebrating Australia’s creative culture,” says Scully. “It’s become increasingly evident that our creative sector adds value to the broader economy, but that it’s also a sector in need of development in order to reach its full potential.” This critical thinking underpins Scully’s curatorial rationale, and she supports it by selecting Australian speakers who deliver creativity, intelligence, wit, a sense of humour and great storytelling.

The international speakers bring a global perspective to the mix, which aims to encourage,

inspire and – most importantly – challenge our thinking. Scully’s curatorial process is a fascinating one, considering she only has four people working directly with her during the event’s development period (although they are part of a bigger team that delivers Vivid Sydney, which is administered

by Destination NSW). But she also works on other projects separate to Vivid Ideas and this is where much of her inspiration is formulated. “I describe myself as a ‘creative omnivore’ because I’m always grazing,” she laughs.

“So when it comes to putting the Vivid Ideas program together I’m able to compile a long list of about 15 trends that transcend a lot of different industries.”

At the moment, the biggest trend Scully sees emerging is ‘user experience’, which also gives rise to other themes, such as wearable technology. Identifying key trends not only involves having an awareness of people’s reactions to them, but also investigating new products that specifically relate. Most importantly, however, is determining the thoughtful ways in which the trend is being approached. Her research on wearable technology, for example, eventually led her to Amit (a key innovator in the field), and sparked her idea to invite him to be a part of this year’s program.

Scully tries to match the speaker’s offering to the audience’s needs by analysing what it is the latter can learn from the former. As a catalyst for this type of connection and professional business development, she is very focused on achieving what she perceives to be Vivid Ideas’ key goal. “The event was initially about bringing business skills to the creative sector, but now it’s more about bringing creative skills to the business sector,” she says.

“What I see as a really great outcome for Vivid Ideas is to increase the market for creativity

and let the commercial sector know their business will be enhanced by engaging with creatives and ‘outside-the-box’ thinkers.” This shift in the broader community’s awareness of design as a core part of business first presented itself to Scully during last year’s Vivid Ideas festival.

She realised the potential for cross-sector engagement after noticing that most of the audience members listening to IDEO CEO Paul Bennett were not designers, but, in fact, people from the financial services. It was evidence of how the uptake of design in business has progressed; it’s no longer regarded as just a superficial application introduced at the very end.

The biggest challenge that Scully now faces is building awareness and getting broader engagement outside of Sydney.

Vivid Ideas hasn’t had as much breakthrough in the other capital cities as say, Vivid Sydney’s music program has, but Scully remains optimistic about its potential for growth. “We want Vivid Ideas to be the SXSW of the Asia Pacific region – that annual coming together of the whole creative sector to talk about where the opportunities lie, what’s next and who’s making the big strides,” she says. “And we want it to be the event that’s marked in everyone’s calendar.”

JESS SCULLY jessscully.com jess@sohotrightnow.net

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I. Form & Fable How can storytelling help designers communicate a regional design language?

Melbourne-based designer, Ross Didier, sheds some light on ‘meaningful narratives’ through the lens of his recent collection, Fable.

words Lorenzo Logi

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he stories born of the creative process are an invaluable marketing resource, but communicating them to the target audience is not always straightforward. Ross Didier for example, speaks candidly about his recently expanded ‘Fable’ collection; where this Australian designer has constructed a personal narrative around his work.

“I can’t help but start the product with a story, it’s just the way it happens with me,” says Didier.

“If it doesn’t have a story I find it dull; the story gives it a reason to eventuate.”

As Didier highlights, stories give meaning to work and its finished product, elevating it beyond a simple collection of materials and techniques. This holds as much weight for a final owner as it does for a creator, and the encyclopaedic knowledge fevered collectors amass about the objects of their obsession is, to some extent, shared by any appreciator.

How then, does a company communicate this story to a potential client? In the case of Fable, Didier has conceived of a set of whimsical images that capture his own sentiments about the work and its context.

“The intention was to personify [the products]; I’m really interested in trying to represent animism and create souls in objects,” he explains.

“I really wanted to take it out of the real world, to that beautiful state of philosophy, fantasy, beauty and what I was thinking about at the time I came up with the concepts. The whole idea was to recall humble, simple designs, in the tradition of children’s tales or storybooks; fables. I wanted to present this range as if a craftsman had handcrafted it – but behind the craft these pieces are made by sophisticated machinery.

It’s actually more difficult to make things look minimal and pared-back than complex and intricate,” he notes.

Consisting of 10 images in a dense, sylvan-setting accompanied by figures in masks and costumes, the photography is at once surprising and familiar, evoking a sense of nostalgia using characters from childhood nursery rhymes and, dare I say it, fables.

As rich and engaging as this approach is, however, Didier is aware of the need for the marketing strategy to remain accessible, and to “reign-in” his artistic instinct lest it overshadow marketability. Thus, as a counterbalance to the first round of images, Didier intends to photograph the products in a pure, minimal context (what he calls a ‘Japanese’ style) to allow his audience to imagine them in their own spaces.

Naturally the stories Didier steeps his work in – and the visual tools he uses to communicate them – are powerful defining features of his brand.

In this regard Didier is conscious of not constraining himself; “I’d like to see the Didier brand defined by the products that I’m creating – I don’t want to create a myth that the products slip in to as an after-thought.

I want the products to tell the story - and if a style emerges, then good.” So whilst each collection has a distinctive personality and localised regional-flavour, the products themselves indicate an individual evolution, rather than a repeated approach.

As a genuine representation of a designer’s inspiration and process, stories will also inevitably reflect their context and eventually nourish a design language of that context. For Didier, this is a very positive development – he states that “being able to define [that language] may be the key to Australian success in the global market; hopefully elements will emerge that are recognised as particularly Australian and regionally iconic.”

This design-dialect is directly obvious in the presentation of Didier’s ‘Terra Firma’ and ‘Tiller’ collections; having been strikingly photographed sitting in a baked, rural Australian context. “In Terra Firma and Tiller a lot of the form and inspiration was informed by hands and farm equipment, even the shapes, like timber shovel handles,” Didier explains.

Ultimately, for Didier the central purpose of the storytelling exercise is to reconnect with the true value of his work. “From a design point of view, the original idea is fascinating,” he says, “and in the commercial landscape you almost have to add the trickery to make the products more sophisticated.

But to pare it back is a challenge - it’s hard in the commercial world to portray and give emphasis to that simplicity and purity. The story is digestable.”

The Ross Didier FABLE Collection is available through Café Culture + Insitu

ROSS DIDIER cafecultureinsitu.com.au (61 3) 9411 0011

IN-DEPTH

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Clockwise from top left / Fable Collection campaign image ‘Forest and the Hare’, designed by Ross Didier, Photo: Michael Kai Photography; Fable Collection campaign image ‘Forest and the Crow’, designed by Ross Didier, Photo: Michael Kai Photography; ‘ The Boy Who Cried Wolf ’ Illustration by Alex Buccheri

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Celebrating 10 years of supporting emerging designers, Launch Pad 2014 continues its legacy of imparting valuable feedback and mentoring the next generation.

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he value of feedback – particularly for developing designers – is crucial.

The collective knowledge base imparted from high-profile industry members is essential to the development of Australia’s emerging talent, not only in terms of design resolution, but marketing, manufacture and supply know-how. But when do you find the opportunity to engage with and learn from the more experienced members of the industry?

For those unfamiliar with Launch Pad, it is, in essence, a program for emerging designers, local and international alike, to explore and cultivate authentic designs from prototype to production, with the support of established designers, and the Australian design community at large. And this year, we are celebrating its 10 th birthday.

One of the most distinctive characteristics of the Launch Pad program is dialogue. Where traditionally, judges once reviewed entries behind closed doors, finalists ‘pitch’ their pieces to the panel, imitating the process of a designer approaching the supply and manufacture market.

Through this process, the designers are able to receive

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direct feedback, not only vital to the development of their prototype, but their technique in approaching the market as a business exercise.

Getting the marketing ball rolling is, for most designers, an un-natural instinct. The format of this year’s Launch Pad therefore aimed to direct the 15 finalists to approach design as a business, as apposed to a purely creative endeavor.

“It was a great evolution of Launch Pad to have the entrants present their concepts in person,” explains Launch Pad 2014 judge Aiden Mawhinney from Living Edge. “The truth is it's imperative for these contestants to get varied feedback. Design feedback is critical, but if you are seriously wanting to take a product to market you also need to think about things like manufacture, pricing, retailing, warehousing and production. Having a broad range of industry judges’ means entrants get more holistic and practical feedback.”

Launch Pad is proudly supported

by Major Sponsors and Partners as part of Indesign: The Event Melbourne 2014

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Clockwise from top left / ‘Pinch Mill’ designed by Richard Harrod, Winner of Launch Pad 2014; Launch Pad 2014 exhibition space at the CULT Melbourne CBD showroom, Photo: Fiona Susanto; ‘Crescent Table Lamp’, designed by Lewis Yee for Launch Pad 2014, Winner of the Runner-up prize, Photo: Fiona Susanto; ‘O.P’ designed by Simone Steel & William Campbell (pictured) for Launch Pad 2014, Winners of the Runner-up prize, Photo: Fiona Susanto

TOP THREE TIPS FOR EMERGING DESIGNERS 1. Research Know everything there is know about your product; not just the design and basic costing. What materials you want to use, how it’s going to be manufactured, how are similar products manufactured. Where are the materials sourced from, are the fittings stainless steel, are there alternative materials that can be used.

2. Communication You may have the greatest design the world has ever seen, but if you are unable to clearly share your concept and communicate its purpose and sell the idea you will find it hard to gain any traction.

Renderings, drawings and prototypes can be valuable tools in pitching your ideas.

3. Mentors

Judges // Aidan Mawhinney, Living Edge Bec Findlay, How We Create Daniel Dalla Riva, 6 Hats Raymond Scott, Workshopped Richard Munao, CULT Ross Didier, Designer Terri Winter, Top3 By Design

Sponsors // Major Sponsor + Exhibition Host: Cult Founding Partner: Living Edge Production Partner: Workshopped Media Partner: Ausinfront.com Education Partner: General Assembly Finalist Gift Packs: MUJI Australia

www.enoki.com.au

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Good ones are hard to find, but are invaluable when you have them. They will provide you with helpful and constructive criticism and give you guidance in finding the right or alternative answers. While a mentor wont do the work for you, but they will smooth your path towards getting your product to the next stage.

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DIRECTORS CUT

01 Ida Linea Hildebrand, Rasmus Hildebrand, Michele Kearney, Sophia Watson 02 Terri Winter, Arthur Georgopoulos 03 Nicky Lobo, Colleen Black 04 Richard Misso, John Bechini 05 Nikki Liston, Dale Hardiman, Ash Allen, Adam Lynch 06 Liora Caplan, James Groom,

Tegan Schwarz, Joel Savage 07 Derrym Tal, Yosi Tal, Eli Tal, Caroline Perry 08 Donn Salisbury, Paul Beale, Raj Nandan 09 David Coan, Anthony Collins 10 Aidan Mawhinney, Marnie HammondDonnelly 11 Ross Gardam, Steve Rose

Indesign: The Event Melbourne 2014, Directors Welcome 07 What MID14 Opening Event Where Luminare, South Melbourne When August 2014 Guests Australian design industry directors, CEOs, leading designers, suppliers, specifiers and architects melbourneindesign.com.au

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