Dq#58 preview mag

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Issue 58. Winter 2015. The Culture Issue.

Design Quarterly explores why culture is a valuable asset to the business of design.

Inviting nature in to change the world with Interface.

Herman Miller’s Brian Walker DULUX x Ginger&Smart Wilkhahn Hannah Tribe loopcreative Adam Goodrum x Veuve Clicquot ISH Germany La Chance Tom Dixon Sydney Indesign 2015 Milan Furniture Fair 2015.

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Editorial

inside word

98’500+ reAders

print . digital . social inDESignlivE.COM/DQ /DESignQUArtErly @tWEEtDQ DESignQUArtErly

DQ Editor Sophia Watson, dq@indesign.com.au Melbourne Editor Alice Blackwood, Alice@indesign.com.au Online Editor Tess Ritchie, tess@indesign.com.au Contributing Writers Alice Blackwood, Andrew McDonald, Annie Reid, Byron George, Chris Round, Christine Danos, Gregory Pieris, Lauren Bolton, Leanne Amodeo, Lorenzo Logi, Marg Hearn, Nicky Lobo, Stephen Todd, Tess Ritchie

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s you’re reading this, I can feel you thinking: “Why the hell is she talking about culture in a ‘business of design’ magazine? It sounds a bit wishy-washy. Why should I care about design culture anyway? I’m not at Uni anymore!” And I get it. And at first glance, I’m sure “The Culture Issue” looked a bit “sociology text book” as Raj (our publisher and fearless leader, for those of you playing at home) recently put it.

But when you really think about it – like I’ve spent the last quarter doing – culture is HUGE part of how we as an industry sell ourselves nationally and to the rest of the world.

Call it our unofficial resume; the culture of your company, your design values and your local industry says everything about who you are, what you do, and whether you’re a desirable candidate to work with.

This can translate in any number of ways; your manufacturing culture, your design language, your cultural theories on people/ behaviour, your technology culture, the culture of your branding and showroom – both physically and metaphysically, the list really goes on.

Perhaps you’ve never thought of the Australian design industry – or even just design – as a culture. Sure, it’s not as obvious as say national or ethnic culture, but whether you’ve acknowledged it or not, design is and has as much a culture as a country, or any other cultural institution like food, music or sport – we all have rituals, customs, rules, values, languages and inherent practices that are unique to us as a group. And those cultural reputations and identities have a significant impact on the way the world sees us, and in turn does business with us.

Having this insight gives us the opportunity to strategically use our cultural brand to better position ourselves internally with the local market, and externally with global players.

In this issue of DQ, we look at every aspect of design culture you could think of – and how it can, has and will impact on the business of design.

As you might be aware, I’m not a fan of one-way conversations; I’d much prefer to talk ‘with’ you, not ‘at’ you, because it’s my job to make sure that DQ reflects the real, gritty nature of the current design industry – and how the hell can I do that without having a chat with you? So drop me a line, shoot me an email or jump on the DQ social media with your thoughts on ‘culture’ and its place within the business of design – we’d love to hear your take. Enjoy the issue DQ-ers! + WOrDS by SOPhiA WAtSOn

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

Creative Director Christopher Holt, HOLT Design christopher@holtdesign.com.au Senior Designer Michelle Byrnes, michelle@indesign.com.au Designers James McLaughlin, james@indesign.com.au Sophie Taylor, s.taylor@indesign.com.au Ad traffic Tina Fluerty, tina@indesign.com.au

PA to Publisher/subscriptions Elizabeth Davy-Hou, liz@indesign.com.au Financial Director Kavita Lala, kavita@indesign.com.au Accounts Gabrielle Regan, gabrielle@indesign.com.au Vivia Felice, vivia@indesign.com.au

Production Manager Sophie Mead, sophie@indesign.com.au

indesignlive.com/dq

Events and Marketing Tegan Schwarz, tegan@indesign.com.au Angie Boustred, angie@indesign.com.au Bonnie Eskdale, bonnie@indesign.com.au Online Radu Enache, radu@indesign.com.au Ryan Sumners, ryan@indesign.com.au Advertising Enquiries Marigold Banta // Dana Ciaccia (61 2) 9368 0150 marigold@indesign.com.au // dana@indesign.com.au

INDuSTry

GET SH*T DONE AD

Is a university degree a must for a career in the digital design world these days? The Fitzroy Academy for Getting Shit Done (GSD) is exploring new models to teach innovation and entrepreneurship.

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he moment when lecturer Will Dayble “snapped” came as he watched over his beloved students preparing to sit an exam about the internet.

Isolated in a big room, each on a large table, they began silently filling in their multiple-choice question sheets.

“When you’re working on the internet you’re meant to steal, collaborate and solve problems together. It was so broken,” he recalls. “I didn’t have a degree so I was seeing university for the first time as a lecturer.”

Quitting teaching after one semester and turning to research, other entrepreneurs in Melbourne and a belief that there was a better way, he and his business partner, Luke Giuliani, launched The Fitzroy Academy for GSD. Now two months old, the alternative model looks beyond simply training and takes its inspiration from a growing cohort of institutions around the world providing a different take on education.

It offers mainly student startups a punchy and ever-evolving approach in place of a formal structure, with key programs

has fewer physical constraints, so we can worry less about pedagogy and instead focus on solving real problems – fast,” he says.

Closer to home, he’s working on a research partnership project with the University of Melbourne’s Centre for Workplace Leadership, as well as an accelerator project with Monash University.

He’s interested in challenging traditional perceptions of success and the place of university degrees, by asserting that traditional learning models are impractical due to the fast pace of the digital industry.

“There’s a lot of room for universities to pick up the slack,” he says. “We have to create an educational model that allows them to teach more effectively.”

And a better model will also create a better measure for success, he asserts, where success is defined more by being happy and productive than simply having a degree. “Earning money is good,” Dayble says. “Earning money while working on a problem worth solving is way cooler.” +

including a three-hour short course and a three-week accelerator course, containing one-to-one mentoring support, night classes on code and design, on-site fitness training, practical business, tech and social enterprise workshops and the chance to pitch to industry leaders, investors and their peers.

Crucially, students are taught to work on problems that don’t exist, using technology and methods that haven’t been invented yet, with the focus on doing rather than thinking and planning.

“Social media used to be a toy on the internet, it's now a multibillion dollar industry. Artificial intelligence, VR and crypto currency are on an even steeper trajectory,” Dayble says.

With a handful of students now graduated and courses successfully up and running from the academy’s warehouse in Fitzroy, he’s not stopping there.

This year, he’s piloting an online program for students in Cambodia and Vietnam, with a vision to create an eco-system of entrepreneurship and innovation that can be replicated throughout the world.

“Blended (a mixed online/offline teaching environment) learning

Words by Annie reid

fitzroygsd.com // (61) 437 121 023

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This page / Students and teachers at The Fitzroy Academy for Getting Shit Done, Melbourne

Come Together What is the value of collaboration as a uniquely Australian design practice, and who is the industry teaming up with?

Adam Goodrum X Veuve Clicquot French champagne house Veuve Clicquot recently announced an exciting collaboration with leading Australian designer Adam Goodrum. Veuve Clicquot has strong ties with the world of innovative design and has previously partnered with other design heavyweights including: Tom Dixon, Andrée Putman and Karim Rashid on creative projects. It is however, the first time that the brand has undertaken such a partnership in Australia.

Adam will work with Veuve Clicquot to create a limited edition piece, to be launched late 2015. His journey began in April with a trip to Veuve Clicquot’s Hôtel du Marc, in the Champagne region of France, ahead of Milan Design Week in April 2015. There, Adam was immersed in the world of Veuve Clicquot, from the history and heritage of Madame Clicquot, through to the cellars, vineyards and the gallery of commissioned works by the Campana Brothers and Mathieu Lehanneur. Adam commented that: “It’s such a great privilege and opportunity to be working with Veuve Clicquot, a brand that has innovation and design imprinted in its DNA. I’m really looking forward to my immersion into the world of Veuve Clicquot, and working that experience into the design process.”

Nendo X Kokuyo

dulux.com.au // 13 23 77

Following their exhibition at the recent 2015 Salone Del Mobile, quintessential Japanese designers Nendo teamed up with their equally-famed Japanese commercial counterparts, Kokuyo, to develop the stackable offsetframe chair.

This is an interesting collaborative effort from Nendo, who in recent times has steered away from the ‘normality’ of the modern office.

And likewise, the house of Kokuyo is reputedly commercial and notably quite conservative.

The chair has a variety of purposes ranging from placement in meeting areas or the open spaces of an office, and although the composition of the chair is simple, it has a surprising and subtle design feature detailing in the frame section, slightly protruding from the shell. The Nendo x Kokuyo collaboration is an excellent example of designers who know their strengths, but more importantly who know their weaknesses. Here, the museum, art-like objects, which sit within the Nendo wheelhouse are well-paired with the strict and efficient commercial functionality of Kokuyo. The result is a rich variation of eight different models with different frames ranging from arm chairs and caster chairs to singlelegged chairs, featuring six colour variations for the shells and three colour variations for the frames, as well as detachable fabric and leather covers to choose from. A certain win for both studios.

gingerandsmart.com // 61 1300 798 702

nendo.jp/en/ // info@nendo.jp

adamgoodrum.com // info@adamgoodrum.com veuve-clicquot.com // communication@veuve-clicquot.fr

Dulux X Ginger & Smart It is becoming more and more valuable to partner with creatives outside of the design industry. The success of these intersections in Australian design produce some amazing results such as the recent collaboration between Dulux paint and local Australian fashion house Ginger & Smart.

The first collaborative effort for Dulux, and led by creative consultant Bree Leech, paired the brand with fashion designers Alexandra and Genevieve Smart (Ginger & Smart). The goal was to style a Melbourne home, in a rather clever way of bringing life to the colours, textures and moods evoked by Ginger & Smart’s Autumn Winter 2015 collection, ‘Arcadia’.

Dulux’s alignment with Ginger & Smart successfully demonstrates the value of collaborating beyond design industry borders, in so far as they are now able to leverage the identity of Ginger & Smart to connect with a section of the market the may not have previously had access to. In the wake of the Ginger & Smart partnership, Dulux notes that they will continue to intersect fashion and interior design.

We cannot wait to see what’s next!

INdusTRy

apaiser X Kelly Hoppen

Cotton On X Mark Tuckey Cotton On is partnering with design brand Mark Tuckey to expand its lifestyle focus into the homewares sector, creating a collection that makes expert and effortless design accessible and fun for all.

The partnership is really exciting for a number of reasons. It will make Mark Tuckey pieces attainable for everyone; creating a brand new offering in the highly competitive homewares market. For Mark Tuckey, the collaboration is an opportunity to introduce the brand to new customers and homes across Australia, as well as New Zealand, South Africa and Hong Kong.

Co-founder and designer for Mark Tuckey, Louella Tuckey, explains: “Cotton On knew of the brand since its early days, and originally approached Mark to discuss store fit-outs. But it quickly became a conversation about homewares, which is my background. I have a degree in furniture design and got into styling and art direction after college, where I worked with Terence Conran in London for about five years – so it felt like a good fit for all of us.” She continues: “The concept of Mark Tuckey for

Cotton On is in line with our core business objective – to create products we love and want in our own home. This new partnership echoes that same passion. When we met with Cotton On, we knew we were on the same page and have since become really great collaborative partners.”

Cotton On’s global general manager, Felicity McGahan, makes the point that the success of the collaboration rests on the two brand’s shared laurels.

“Like Cotton On, Mark Tuckey is a local success story and a brand that’s authentic, laidback and quintessentially Australian,” says McGahan, “so we felt it was a natural fit. Collaborating with another brand is something that has always been on our radar, but it was important that the brand shared our ethos and inherent values.”

The results are quality products at a great price, and are a solid reminder of the value of collaborative interindustry endeavors. marktuckey.com.au // (61 3) 9419 3418 cottonon.com // 1800 420 176

Liam Mugavin X Rakumba Toro Nagashi represents a fresh collaboration between emerging furniture designer Liam Mugavin and established lighting specialist Rakumba. The partnership aspires to combine a refined aesthetic with high quality, Australian-made production values.

Liam approached Rakumba knowing that the collaboration would offer them both a chance to combine strengths and create something exciting. For Liam, the prospect created an opportunity to cut his teeth with the mentorship of the Rakumba veterans, and for Rakumba, the opportunity to inject a youthful, next-generation perspective was certainly attractive.

Having faith in Liam’s proposal, Rakumba embraced the project and the collaborative process began. Liam worked alongside Rakumba’s in-house designers to progress the design for production, and was here able to leverage Rakumba’s experience. Liam’s Japanese/ Australian design aesthetic complemented Rakumba’s industry knowledge perfectly, resulting in a seemingly effortless process.

The product itself – inspired by traditional Japanese lanterns – is a striking success for young and old. liammugavin.com // (61) 404 369 334 rakumba.com.au // (61 3) 9579 2355

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Founded in 2000, apaiser’s design philosophy is simple: To create a luxurious and intimate sanctuary in the bathroom, like no other. To do so, they focus on collaborations with elite designers such as Kelly Hoppen MBE to design the perfect bathing experience.

The idea came to apaiser upon cleverly identifying shifts and waves in consumer and designer demand.

Founder and executive director for apaiser, Belinda Try explains: “Sensory appeal has emerged as a worldwide trend in bathrooms. The need for differentiation has become a key focus for designers enhancing the consumer bathing experience. apaiser’s unrivalled customisation meets this growing demand as we shift from function to enjoyment.”

It’s no surprise that Hoppen – who is this year celebrating an enviable 40 years at the forefront of the industry – was hand-picked to team up with apaiser on this project given her ever-evolving design philosophy, underpinned by an ability to craft something beyond just product, where the act of bathing is a ceremony.

The new collection includes stunning layered designs such as HARMONY, which resembles the petals of a lotus flower, ORIGAMI, which was inspired by the intricate Japanese paper art that gives it its name and BANDE, originally based on the Obi, a sash used in traditional Japanese dress.

The new collection of stone composite bathware is a celebration of east-meets-west, and the result is a truly sublime blend of inspiring design aesthetic and a luxurious bathing experience. But more than that, the results of the Hoppen x apaiser collaboration produced something beyond beautiful objects; easing the ever-increasing stress of modern life by designing for the ritual and ceremony as well as the product. apaiser.com // (61 3) 9421 5722

Culture

V. Culture + Technology

Words by Sophia Watson

Design Speaks

Louder Than Words Is design a cultural transmitter of valued and meaningful information and ideas?

indesignlive.com/dq

IN-depth

Opposite left to right / Stylecraft Pink Limited Edition Cafita 53 Cancer Council Chair, designed by Lievore Altherr Molina in 2001 for Arper;

Masks designed by Field Experiments; Bangli Weaver, Kadek Wayhuni during the 2013 Field Experiements cultural residency

field-experiments.com // mail@field-experiments.com

It’s kind of obvious that every culture has its own language.

And I don’t mean the standard national dialect of English, French, Swedish, or what-have-you; I mean the locally crafted terms, phrases, slang and overall turn-of-phrase that define the very essence of who these groups of people really are. Hip-hop is a great example of a culture with a very distinct language – both verbally and visually, as is fashion, sport, politics – the list goes on. So why should design be any different?

The links between design and communication have a significant impact on culture. You’ve more than likely heard the term “design language” thrown around quite callously by design media (ok, so I’m guilty of it, too), but what does that actually mean?

Nomadic design collective, Field Experiments recently explored the meaning and value of “design language” in their 2013 residency in Bali, Indonesia. Here, the idea was to emphasise alternative models for using design as a tool to learn about culture and people, as a mode of masscommunication, opposed to massproduction. Ultimately, to share narratives and tell stories through objects and spaces.

Generally speaking, Field Experiments uses collaborative making to explore diverse cultures and craft communities in different regions around the world.

“Underpinned by cross-cultural exchange, we produce projects, products and ideas across multiple formats including furniture, clothing, video works, publications, exhibitions, interiors, installation and printed materials,” says Field Experiments general manager, Dan Honey. From June – September 2013, designers, Benjamin Bryant, Paul Fuog and Karim Zariffa, set up a studio and home in Lodtunduh, a farming community situated on the outskirts of Ubud.

They collaborated together and conducted daily experiments in stone masonry, woodcarving, batik, painting, basket weaving and kite making with a community of local craftspeople. The project resulted in the making of more than 100 conceptual objects, which

challenge the traditional notion of the souvenir. It explored the re-assemblage of cultural craft objects in a tourist-driven economy and examined the influence of transnational exchange. Proposing how a souvenir can manifest, the collective encouraged crosscultural learning and understanding through various objects.

“Design is so often used for commercial purposes,” says Honey, “to make a product, to sell a product, to build a business, to learn about a business. We were interested in using design as a tool to learn about other people, cultures and countries. It was important for us that the projects and interaction with the makers took the focus off of selling, and shifted it to learning and cultural exchange. Objects became the mode of conversation and a way of understanding the surrounding environment. The exchange of design and making allowed us to share our personal stories with the Balinese craftspeople. They in turned shared their personal and cultural narratives and we learned about and built respect for one another along the way.

Throughout the experiment, the designers found that the making techniques and materials were equally as valuable, if not more so, than the traditional forms in communicating the identity of these cultures. And even beyond that, the materials and methods of making interestingly played a crucial role in communicating culturally significant issues and problems through the objects themselves, such as sustainability and socio-economic status for example.

Honey explains: “It was wonderful to learn about the personal narratives of the craft people we worked with. We learnt that our stone carver Ketut was concerned about the fragility of the craft. Up until the late 90s he used local Balinese river stone for his sculptures. It became harder to source until one day it just ran out. Now he uses imported limestone and although there are no formal conversations around the sustainability of material, he knows it will share the same fate as the Balinese river rocks and he worries

for the future of the craft and his children’s generation. We also learnt our painter Arya never experiments with other techniques or genres; he paints only what he knows he can sell. It was a reminder that experimentation is a privilege, dependent on a certain level of financial stability and societal support, but also speaks of the socio-economic position of these cultures.”

In focusing on cultural transmission via design, Field Experiments uncovered something that has been too-easily forgotten in this industry for some time now. “Through collaboration, we wanted to put the emphasis back into the relationships that surround design. The people involved in the project became more important than the objects being made, their stories imbuing the works with greater meaning.”

While Honey goes on to say that: “Design is often used to sell,” and that “It is wonderful to think about different ways to use design – to build tolerance, cross-cultural understanding, to tell stories about people and about places,” the principles of communicating cultural identity can in fact, have huge implications for design as a commercial exercise.

Australian icons Stylecraft for instance, have again partnered with the Cancer Council for the eighth year running not only to raise money and awareness for the charity, but to also commemorate the brand moving into its sixth decade of business and its 15-year partnership with Italian designers, Arper.

“We have partnered with Arper to produce a limited edition production of 60 Catifa 53 Chairs in Stylecraft’s signature pink,” says Stylecraft owner and director, Anthony Collins.

The Catifa Chair, designed by Lievore Altherr Molina in 2001, is the most iconic of Arper’s product offering, and the choice to produce the limited edition in pink was a natural one… Stylecraft and pink go hand-in-hand.

Specific design choices were clearly made to inject the piece with a particular message. Here, the iconography of the famed chair and the recognisable Stylecraft pink makes a strong – and quite clever – statement about the longevity of the Stylecraft brand, their partnership with Arper and their ties to the Cancer Council (where pink plays a dual role in representing both Stylecraft and cancer awareness).

Beyond transmitting the brand and its values, the chair itself also communicates a moment in time, where: “These chairs will never be produced in pink again,” notes Collins. “Each chair is individually numbered and comes with certification.”

For Stylecraft, the industry has a responsibility to use design as a tool to communicate, inspire and promote positive cultural change. “The social fabric of the design community has always been at the heart of what we do at Stylecraft,” says Collins. “As a business, it’s important to demonstrate social responsibility and it’s something we have been passionate about for a long time. It is an honour to be aligned with the Cancer Council and to think that a small thing that we do can play a role in raising awareness and help a cause that touches every member of the community – for me and everyone at Stylecraft – is a privilege.” +

Stylecraft // (61 2) 9355 0000

The Catifa 53 for Cancer Council chair is $600. 100% of sale proceeds will be donated to the Cancer Council Australia.

Enquiries: mycatfia53@stylecraft.com.au

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TOM DIXON

Legendary designer Tom Dixon talks Milan 2015, being different and building a business empire. indesignlive.com/dq

INFLUENCERS

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itting in the velvety darkness of the Tom Dixon Cinema, you can’t help but breathe a sigh of relief.

The shoulders ease, the bags seem to weigh a little less and, despite the low background hum of circulating crowds, a sense of silence permeates your consciousness.

While many brands busied themselves presenting new product and concepts within extraordinary Italian palazzos at the 2015 Milan Furniture Fair, Tom Dixon, ever the contrarian, opted for an old cinema.

“Nowadays you need to be different,” says Dixon, lounging at an angle across one of his plush Wingback chairs. “You can’t possibly do it like everyone else, otherwise you’ll just vanish.”

Never has this sentiment been truer, with brands from far and wide converging on Milan to present specially developed brand and product campaigns, all aimed at impressing, inspiring and even transporting their audiences.

“Finding a cinema in Milan [enabled us to] tell our story better and in a controllable environment,” says Dixon. “So while everyone else is doing their exhibit in a palazzo, [the] cinema allows us to do ‘theatre’.”

It’s really the perfect solution for a brand like Tom Dixon, which produces a broad spectrum of products – chairs, lighting, office and luxury accessories. When the product offering is so widely varied, it demands a bold concept to draw it all together. “This [space] is really a prototype of a shop more than anything else,” says Dixon; designed to draw people out from their “home shopping” habits and get up close with the brand.

Dixon, who is a performer as much as he is a designer, is continuously looking for ways to “make our stuff more luminous and attractive.” He’s a natural host, and so theatre – lights, camera, music, action! – offers his visitors another layer of engagement with his products and brand.

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There is a sense of energy and boyish impatience – like the fun is just about the happen – with Dixon. It’s a dynamic that is clearly reflected through the diverse spectrum of his designs. “I’d always wanted do as much of the interior as possible,” he says by way of explanation. But it’s not so much about owning the interior space, as it is about offering customers a little bit (or perhaps a lot) of Tom Dixon – depending on what they choose to purchase.

Those who don’t have the space or budget for a table or light can still take away some part of the Tom Dixon brand, through smaller accessories. Admittedly, he “never would have done a scented candle under my own name five years ago.” But the accessories have proven to be a brilliant line extension. “They’re faster, not prone to testing and legislation, and suit my boredom threshold a lot,” says Dixon.

Over the last 12 years he carefully built his business to facilitate both the business ventures and design adventures. “It’s been hard to get it to a point where we have a logistics platform that allows us to make things, transport them, distribute them all over the world and justify doing things in new categories… it allows us to try new adventures.” So that feels like the ultimate to us – the full Tom Dixon theatre – is in fact just the beginning for Dixon. + Words by Alice blAckWood

tomdixon.net // sales@tomdixon.net

Opposite / Tom Dixon, featuring the Pylon series, Photo: Peer Lindgreen This page / Tom Dixon Cinema, Salone Del Mobile, Milan 2015

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SOUTHERN SALONE

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Indesign Milan Discussion Series, hosted

by Spence & Lyda in Sydney and Jardan in Melbourne Our panelists spoke with conviction on their experiences at the fair, offering our audiences an engaging, interactive, and ultimately more meaningful report than can be gleaned from a screen.

Discussing what can Australian design + Architecture take from the world’s biggest furniture fair – from aesthetic trends to commercial developments, were our panelists Emma Elizabeth, of Emma Elizabeth Designs; David Caon, of Caon Studio; Georgia Hickey, of SJB – led by Lorenzo Logi, Managing Editor of Indesign.

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It was a great evening of discussion and opinion, and good company. Thanks again to Spence & Lyda for being such wonderful hosts.

Indesignlive.com spenceandlyda.com.au jardan.com.au

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09 01 Guests 02 Scott Lewis,

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Alice Blackwood, Guest 03 Sydney Audience 04 Emma Elizabeth 05 David Caon, Georgia Hickey 06 Spence & Lyda showroom 07 Melbourne Panelists Leo Terrando, Narelle Cuthbert, Celina Clarke, Alice Blackwood 08 Guests 09 Sydney

Panelists David Caon, Georgia Hickey, Emma Elizabeth, Lorenzo Logi 10 Melbourne Panel in the Jardan showroom 12 Georgia Lewis, Stephanie Luxmoore, Mark Felder 11 Leo Terrando, Narelle Cuthbert, Alice Blackwood

indesignlive.com/dq

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INFLUENCERS

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habiN’ a GOOD TiME!

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Launch Party for Habitus #27 at Living Edge’s new Flasgship Showroom at The Woolstores Alexandria, Sydney The month of April celebrated the launch of Habitus issue #27. It was a fabulous evening where readers, those featured and the Habitus team got to mingle over a glass of wine, a delicious spread from and within the comfort of the luscious new Living Edge showroom. Thanks to all who attended, we hope you enjoyed it – we certainly did!

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Habitusliving.com Livingedge.com.au

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10 01 Nicky Lobo,

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Nahji Chu

02 Habitus issue #27 03 Habitus readers 04 Tess

Ritchie, Sophia Watson 05 Habitus readers 06 Wait Staff and Catering

by Miss Chu 07 Nahji Chu, Tracey Moffatt 08 Habitus readers 09 Habitus readers 10 Habitus readers, Marigold Bantaa 11 Habitus Readers

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