Dq preview mag 50

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smeg DESIGN DESIGN kitchen preneur QUARTERLY the transformed

LEONE LORRIMER leads dwp|suters’ global alliance

the business of design people products

sydney indesign 2013 the official source for indesign’s premier event

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issue 50

page 73 / IN-DEPTH

page 62 / inFLUENCERS

page 85 / INTERACT

editorial

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editor Alice Blackwood

inside word

hat constitutes a milestone moment in your practice or business? For us, it has most definitely been the arrival of our 50 th issue, a rather momentous turning point in our continuously rolling schedule of news, events and deadlines. DQ has now been running for more than 10 years. Our first incarnation was as a fold-out newsletter, inserted into the pages of our big sister mag, Indesign. Back then we were known as Scene Indesign: News/Views/Faces/Places. Today we operate independently of ‘big sister’, however, our core values remain the same: we’re responsive to the needs and interests of our readership and market, and continue to reflect the news and views of the Australian architecture and design community – considered through a current-day lens of business, brand and creative enterprise.

In this special anniversary issue we explore the Australian design community’s milestone moments. We go behind the scenes of your businesses and practices to investigate your challenges and victories, before stepping back to consider the bigger picture. That is, the turning point at which the Australian creative industry finds itself today.

In drawing together this milestone edition, we frequently heard about the (mostly positive) impacts of globalism on brands and businesses. Australia’s entry into the global marketplace is changing our goals and strategies, our design and delivery capabilities, and our communication techniques.

However, for every mention of globalism, a particular emphasis is placed on ‘localism’ and ‘community’.

Here, applying local principles to a global operation (whether it’s your business or your project) is vital in maintaining a human-centred approach to both work and workplace.

Hopefully these people-focused values continue to remain core to contemporary design practice, and are not lost to the tumult of global expansion. Flick through to our feature on A Global Design Economy to consider this topic at length, pg 73.

No doubt you’ve noticed how different DQ looks this issue.

We’ve made a few aesthetic refinements to bring our ‘brains’ and our ‘looks’ into close alignment. We have retained exactly the same content, and now it’s even easier to engage with, navigate and enjoy!

On the topic of new faces, I’d like to introduce you to our new Deputy Editor, Sophia Watson. Please do get in touch with us and tell us what you think of this milestone edition of DQ, and share with us the challenges and victories guiding your business into this era of the global design economy.

This issue is dedicated in memory of Dianne D’Alessandro, a much loved member of the Australian design community.

DQ Editor Alice Blackwood, dq@indesign.com.au deputy Editor Sophia Watson, sophia@indesign.com.au Senior Designer Emma Warfield, emma@indesign.com.au

Advertising Enquiries / Online Advertising Enquiries Laura Garro – Southern States (61) 423 774 126 laurag@indesign.com.au

Junior Designer Rollo Hardy, rollo@indesign.com.au

Contributing Writers Alicia Sciberras, Aniqa Mannan, Anna Flanders, Ben Morgan, Byron George, Charlotte Fish, Elana Castle, Freya Lombardo, Jen Bishop, Nicky Lobo, Paul McGillick, Peter Sackett, Stephen Crafti

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

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

Advertising Traffic Siobhan Markus, siobhan@indesign.com.au

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

Designers Frances Yeoland, frances@indesign.com.au Alex Buccheri, alex@indesign.com.au

Editorial Director Paul McGillick, editor@indesign.com.au Operations Manager Adele Troeger, adele@indesign.com.au Financial Director Kavita Lala, kavita@indesign.com.au Business Manager Darya Churilina, darya@indesign.com.au Accounts Gabrielle Regan, gabrielle@indesign.com.au Online Editor Owen Lynch, owen@indesign.com.au

FROM THE PUBLISHER W

hen we launched DQ around 10 years ago, it was with a vision to bring the Australian design community the sort of news, views and parties that tapped right into the heart of our industry.

Since its conception as a newsletter-style insert, the magazine has undergone a series of powerful evolutions and continues to thrive in the face of a polarising convergence of digital and print media. DQ continues to maintain a strong presence in the increasingly ‘noisy’ digital media scape. In an era where Facebook ‘likes’ and blog posts offer up easy – but essentially superficial – engagement, DQ provides a relevant and informative forum where designers, specifiers and suppliers can connect and interact.

Our thanks go to our advertisers who have backed us the entire way, not to mention our loyal readers, and the committed team behind DQ. Thanks to your support DQ holds a unique and unchallenged place in the market and as we head into our next 50 issues, we will continue to provide you with a leading industry resource for design business and practice.

In closing I’d like to dedicate this issue to Dianne D’Alessandro, an admired and much loved member of the Australian design community. Her recent passing, following a courageous fight against leukaemia, is felt by her colleagues at Hassell and those of us who knew her in daily life.

publisher Raj Nandan

Online Radu Enache, radu@indesign.com.au Ramith Verdheneni, ramith@indesign.com.au Ryan Sumners, ryan@indesign.com.au Jesse Cai, jesse@indesign.com.au Events and Marketing Tegan Richardson, tegan@indesign.com.au Angie Boustred, angie@indesign.com.au COVER IMAGE SFPA140 Smeg Linear 60cm Pyrolytic oven with TFT touch screen Photography: Tim Robinson, timrobinsonphotography.com

YESTERDAY’S NEWS. FOR TOMORROW. Our new hand-woven wallcovering made from recycled newspaper.

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contents

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Industry

influencers

On the Move BYRON GEORGE 5 Mins with Tom Dixon A PERFECT 10 – SPACE FURNITURE DEBRIEF – LIVING EDGE REBRAND

Leone Lorrimer dwp|suters S AM FAZZARI s&m mobilia David and helen lennie signature prints

Digital Business 24.

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OUND TABLE R DISCUSSION with Debbie Ryan, Emilio Fuscaldo, Mark Healy

IN DEMAND

WORKPLACE products specs in black Australian designs SURFACE solutions INSITU furniture

The Triple-S guide to business survival online

Molo

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“With the GFC, people are planning ahead but not making decisions ahead” 58.

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In-depth

“ . ..Our designs won a number of competitions... but we didn’t have any manufacturing”

a global design ECONOMY

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iNteract SYDNEY INDESIGN: THE EXPERIENCE

85.

MILAN FURNITURE FAIR 2013 IFFS Parties Stylecraft INDESIGN group fanuli Zenith INTERIORS Actiu REECE SIGNORINO Design Diary AFTERWORD

Take a tour through our newest showroom.

livingedge.com.au

Hi-Res Images Environmental Certification Warranty Information Price Guide CAD Blocks BUY NOW

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INDUSTRY

R

ecently making his return to Australian shores following 12 years working in London, Architectus’ new Head of Interiors, Chris Silva, has undertaken the weighty challenge of developing the interiors business at Architectus Sydney. Silva (pictured right) sees his role as a chance to expand the company’s market presence. “My plan is to complement the high quality architectural works with an equal offering in interiors,” he says.

Silva, who is a big believer of design adaptability, has a sixth sense when it comes to the creative vision of his clients. “I am very passionate about creating interiors that respond to the client’s needs and functionality,” he says. “I am a big believer in getting under the client’s skin to understand their business, and most importantly their aspirations. I think it is crucial to understand [their needs] before committing pen to paper.”

ARCHITECTUS

ARCHITECTUS.COM.AU (61 2) 8252 8400

05

01 E2

04 HASSELL

08 RJ WORKSPACE

Customer experience agency e2 appoints Danielle Barclay, strategic director and Mitch Incoll, creative strategist (pictured left) to lead the team at a strategic level in Sydney and Melbourne offices. The new recruitments follow a brand refresh that sees the company building its strength in creating and delivering experiences across brand and customer environments.

HASSELL Sydney welcomes two talented interior designers, David Whittaker and Emily Moss (pictured left). David brings with him a wealth of experience and strong reputation for delivering innovative design. Having worked in the industry for a decade, Emily has a keen knowledge of the Australian market.

RJ welcomes Paul Gilliland to the sales team at King Street Wharf.

Paul has a strong background in the workstation and furniture industry, having worked in Sydney and also abroad in London.

» hassellstudio.com (61 2) 9101 2000

Lee Wegner joins WE-EF Lighting as the Business Development Manager. Lee is experienced in OEM channel and technical business development. WE-EF also introduces new Managing Director Ian Cerfontyne (pictured left). Relocating from the UK to Australia seven years ago, Cerfontyne has a strong folio within the Australian market.

» e-2.com.au (61 2) 8217 1300

05 HERMON & HERMON Russell Cook joins Hermon & Hermon’s lighting division H&H Collection as National Account Manager. With over 10 years in furniture and lighting, residentially and commercially, Russell will be expanding H&H’s presence in the commercial market.

02 CAFÉ CULTURE

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Denver Cramer joins Café Culture as Victorian State Manager and Business Development Manager.

Having a background in design, product development, marketing and environmental management, Denver loves all things Melbourne, and is the perfect fit to lead Café Culture in the southern states.

» hhcollection.com.au (61 3) 9427 0599

06 INTERSTUDIO

» cafeculture.com.au (61 2) 9699 8577

James Taylor has moved to Interstudio as the NSW & ACT Manager. After four years with Jardan, James looks forward to continuing the successful relaunch of Interstudio following its ownership change in mid-2012.

James welcomes your visit to the company’s new showroom in Chippendale, Sydney.

03 FUTURESPACE Futurespace announces the appointment of Angela Ferguson as Managing Director. Angela brings a holistic approach to business with 20 years experience working in the construction industry. With a background in interior design and project coordination, Angela has extensive experience in the Australian market. She is also the NSW President for the National Association for Women in Construction (NAWIC).

» interstudio.com.au 1300 785 199

07 LIVING EDGE Casey Winefield joins Living Edge as Project Consultant in its Sydney Residential Studio.

Casey has seven years of interior design experience, bolstering Living Edge’s service offering to specifiers working on residential and hospitality projects in NSW. Living Edge Residential in Brisbane also welcomes Jodie Hodge as Project Consultant.

» futurespace.com.au (61 2) 8917 4555

» livingedge.com.au 1300 132 154

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» rj.com.au (61 2) 9299 9090

09 WE-EF LIGHTING

» weef.com (61 3) 8587 0444

10 WILKHAHN Wilkhahn welcomes Jason Parry as Senior Project Consultant for NSW. Jason is a valuable asset to the Wilkhahn team with more than 16 years experience within the commercial furniture industry. » wilkhahn.com (61 2) 9310 3355

11 WOODS BAGOT Woods Bagot welcomes the return of Nik Karalis to his hometown of Melbourne, after three years working from Woods Bagot’s London and Beijing studios. Karalis has developed an adaptable approach to architecture that reflects a deep understanding of cultural nuances. He also celebrates his 20 th anniversary working with the firm this year. » woodsbagot.com (61 3) 8646 6600

INDUSTRY

with Tom Dixon

interview Alicia Sciberras

H

aving never formally studied design, what is your design process and your perspective on the business of design?

This most recent phase of my life is more about designing, developing and distributing the product. The Tom Dixon label concentrates on just designing and communication, but we also develop the products and distribute them, which most design studios wouldn’t do. We are a label that is in charge of the production but we don’t have any factories – so that is the shape of the practice and the so-called business of design, from our perspective. But we also have an interior design practice within that and it takes up only a tenth of the size of the rest of the business.

And we have the Tom Dixon Store in London.

We are set up more like a fashion company, we are autonomous so I have a brand under my own label, but I am owned by other people so I don’t even own myself – which is an odd state of being for a product designer, yet quite normal for fashion.

This page / Tom Dixon

Where does the Tom Dixon brand sit within the design industry?

Well it’s not low end nor is it mass market. I am very interested in the materiality of objects and it’s not about cost, but the value of the object. People are always more attracted to the heavier objects and the quality that brings character to the object itself. I choose material solutions that have certain longevity and luxury always comes from the mind of the consumer, but I definitely think my objects have a strong and slightly precious materiality. We often use relatively cheap materials in

a very generous way – cast iron for instance is very heavy and very substantial and I like materials that are honest and visible – I often use a lot of marble, brass and cast iron and oak and we don’t really mark those things with lots of extra combinations they really are quite plain.

When you decide to make a new collection, is there a light bulb moment that confirms ‘I must make that’?

The entire set-up of the studio is all about the ‘light bulb’ moment and it is so much better than

being asked or commissioned to do a certain product just to make money, and not having any external people having any input at all. Everything is self-generated where I think, ‘Ah this might be a good idea’.

Tom Dixon was in Sydney recently to launch new lighting products, available through Dedece in Australia, and ECC in New Zealand.

Tom Dixon tomdixon.net (44 0) 20 7400 0500

discover the knot

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know your niche F

ormer interior designer Michele Chow represents a new breed of creatives challenging the dynamics of industry professions. Chow reflects on her decision to change the direction of her career, and how blurring the vocational lines has contributed to the success of her Australia-based start-up business, Dessein Furniture.

You were previously an interior designer, what prompted this career change?

Design is such a broad church, the various professions are getting increasingly interconnected and the boundaries are becoming more and more blurred. In such a young and dynamic country like Australia, it isn’t uncommon for designers to move within their field or even to step into completely different spheres of design.

Clockwise from top left / Prototype from Dessein Furniture’s first collection; (inset) Michele Chow; Andy Chevis

What would you say your niche is, and how did you develop it?

The vision was to identify a gap in the market that would allow for the rise of a brand of furniture that was contemporary, Australian designed, pluralist in approach while maintaining a common design ethos with sustainable ethics, and would fulfil the need for (what we perceive to be) an under-appreciated, design-savvy and aspirant consumer base.

Having been a professional specifier but also a consumer myself, I have been lucky enough to hear the views of a broad cross section of clients, friends and colleagues who wish to furnish their homes with reasonably priced, desirable contemporary pieces that respond to their design aesthetic that the current furniture market appears not to respond to.

A common observation that arose during our market research was that the market appears to be oversupplied with either highly priced foreign imports or mass-produced poor quality replicas of classic European or American designs. This is not to say there isn’t choice out there, however it appeared that there wasn’t much that appealed in terms of Australia’s contemporary design aesthetic, its quality of product, sustainability and very importantly a reasonable price point. This was and is our niche.

What were some of the challenges in establishing a new business?

The first challenge was to understand that this was a business, and my role was to run and manage that business. While I am a designer – and while these skills are vital to the business, they are not the prime driver for my role.

I have seen many new businesses fail because their leaders have found it hard to take their ‘hands off the tools’ and focus on their business plan and strategy.

The key to survival demands focus, responsiveness and being pragmatic in managing the business. You have to be prepared for what you are getting yourself into, never become complacent.

Dessein will launch its first furniture collection, with custom designs by Adam Goodrum, Jon Goulder and Justin Hutchinson, at Sydney Indesign 15 – 17 August.

INDUSTRY

Valuable advice

words Sophia Watson

T

he term ‘business mentor’ can be somewhat ambiguous. What is it?

Where do you find one? Why is it relevant to you? Here, Sydneybased business mentor Andy Chevis talks about mentoring for creative industries, and how the mentor–designer relationship can facilitate business growth.

What is a business mentor?

Business mentors can take many different forms from subject matter experts to multi-discipline consultants. However, the one thing all business mentors should have in common is their ability to work closely with an organisation, helping them to identify how they would like the business to operate in the future, where they are now, and the steps they need to take to achieve their future vision.

Good business mentors enable individuals to define their own solutions and effectively become self-sufficient. Great business mentors help you gain clarity on what you want to achieve, what you need to do to bridge the gap, and most importantly how people will behave along the way.

DESSEIN furniture desseinfurniture.com.au (61) 439 161 178

How are business mentors relevant to creative enterprises?

Business mentors can help shape strategy, grow the organisation and put in place robust processes that help with efficiency. Businesses that exist in the design space tend to rely heavily on innovative and creative people, and this is where business mentors can really come into their own. In the current market it continues to become increasingly difficult to find and develop talented people who can work well together. An organisation that

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depends on their people to build effective working relationships can really benefit from an expert in this field.

Business mentors can help to achieve exceptional results through approaches including one-on-one coaching, and group and team interventions. They will help individuals raise awareness of their impact on others and develop the skills to effectively get the most out of working together. The result is significantly improved performance and is often the missing ingredient when it comes to business success.

5 Ways to Find a Business Mentor • Google the following terms: “business mentor”, “business coach” or “organisational consultant” • Ask your network for personal recommendations • Invest time to get clear on how a business mentor could assist you and what you would like to achieve from hiring a one • Meet with a number of mentors before making your decision • Before committing, ensure you have agreed terms and fees so you don’t get any nasty surprises

LEADING EXPERIENCE leadingexperience.com.au (61) 424 135 943

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Design, Brand & Supplier / Vintec vintec.com.au 1800 666 778

IN DEMAND

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“ Flexible and adaptable to today’s laid-back yet stylishly sophisticated ambients” 04

Terri Percora, designer of Degrade 05

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Leone Lorrimer

Clockwise from top left / Leone Lorrimer; Park Lake School

The CEO of dwp|suters on Suters’ strategic move into the global marketplace.

INFLUENCERS

words Alice Blackwood

L

eone Lorrimer is both a strategist and a designer. She is at the forefront of a revolutionary partnership that has elevated the Australian architectural firm formerly known as Suters Architects into the global design network.

The recently-announced alliance between dwp|design worldwide partnership – a firm renowned for its prowess in Asian and Middle Eastern markets, and Suters Architects – one of Australia’s top architectural practices, has actioned a strong strategic vision which will see the newly christened dwp|suters deliver world-class design solutions to the global marketplace.

As CEO of dwp|suters Lorrimer is the clear vision and iron will behind the company’s ambitious brand and cultural shift. It’s something which she strongly believes in and – considering her past experience – it’s with just cause. Lorrimer’s background encompasses 25 years working as a major projects architect and strategic planner. Nineteen of those was spent as a director and board member of a large Australianbased international architectural practice.

However, integral to Lorrimer’s focus on the global business arena is the seven years she spent in the United Arab Emirates working in a development and designer manager capacity, including on three iconic museums (The Louvre Abu Dhabi Museum by Ateliers Jean Nouvel; Guggenheim Abu Dhabi by Frank Gehry; and Zayed National Museum by Foster + Partners).

“My past experiences have strongly shaped my view of architecture, design and management,” says Lorrimer. Particularly from having worked with globally recognised firms in different cultural contexts. “It’s given me an understanding of how different cultures produce innovation using different methodologies” – not to mention vital exposure to the quality of product being developed and built internationally in urban and built environments.

Lorrimer also highlights time spent on workplace design where strategic leadership and change management were key. “That gave me

privileged access to insightful CEOs who were leading the transformation of their businesses using the workplace as a catalyst for change.”

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Considering this from a local perspective, Lorrimer highlights Australian designers’ unique ability for creating value and good design within tight budgets. “But the quality suffers [and] the product is consequently under the quality benchmarks of some international investors,” she notes.

Tackling this challenge head-on, the dwp|suters alliance represents an important signal that Suters is now part of the global network and focused on high quality design. “Our vision is to provide design excellence of international quality,” she confirms.

Not only this, the partnership expands Suters’ expertise into a fully aligned portfolio extending across lifestyle, community, work and infrastructure.

It’s a synergistic move for the two companies which are both well established in their respective markets.

“What we have now is somebody on the ground in the place where the decisions are made. It’s a two-way flow of international specialists and client managers with local teams. Sometimes the specialisation might be coming from Australia to Asia or vice versa, but each time it will be a global skill with local delivery.”

Lorrimer highlights transparency of process and strong communication as being fundamental to the company’s brand culture. “It’s about people and human relationships, between us and our clients and between the different teams wherever they’re located.

We’re in a world that is enabled by technology, and that has the paradoxical effect of putting a higher priority on human values of trust, responsibility and accountability.”

A self-described strategist and a designer, Lorrimer doesn’t differentiate between projects and business. “In projects and in the business I work as a catalyst and a facilitator,” she says. She is also quick to emphasise her attunement to human needs and behaviour. “You have to lead by example, provide the tools and training and communicate with people the link between the business’ strategy and what you’re asking them to do.”

dwp|suters dwpsuters.com (61 2) 8569 5000

r ud table

Can industry awards stimulate business growth?

Clockwise from top left / Klein Bottle House Exterior by McBride Charles Ryan; Emilio Fuscaldo; Debbie Ryan; Mark Healy

INFLUENCERS

A

ccolades and applause certainly instill a sense of achievement. But do awards, such as those bestowed by architectural associations, bring tangible change to designers’ lives? Do the phones start ringing, or do clients shy away? And can a shift in status drive businesses to excel, lifting the work of a practice along with its global reputation? Stephen Crafti poses these questions to a round table of three award-winning Melbourne designers.

Architect Emilio Fuscaldo, director of Nest Architects: I thought our practice was too small to compete for awards. But an architect who regularly sits on awards juries saw our house renovation in Fitzroy [the Boston Villa project], and told us it was a worthy contender.

Winning an Australian Institute of Architects (AIA) award for Residential (Alterations and Additions) in 2011 certainly gave the staff and myself a huge amount of confidence. As a result, we believed that our work could stand up to that of some of the larger established practices.

Interior designer Debbie Ryan, principal at McBride Charles Ryan: Almost 10 years passed before we received an award, which was for the renovation of a significant 1950s house in Ivanhoe. In 1998 it won three awards including the AIA Harold Desbrowe-Annear Award, which is rarely given to a renovation. That accolade, along with others we’ve received, didn’t immediately translate into commissions.

But winning awards generally creates a dialogue with architectural colleagues, as well as with the wider community. People slowly start to recognise what you do.

Architect Mark Healy, a director of Six Degrees Architects: I was really taken by surprise in 1995 [the year Six Degrees won the AIA Melbourne Award for a small bar/cafe in Meyers Place]. Compared with many of the large commercial projects that were entered, it was a modest fit-out on a small budget. I think one of the strengths of our practice, apart from our awards, is the diversity of our projects.

EF: I was quite cynical about the AIA awards; I thought the whole thing was a bit ‘clubby’. I also didn’t think the awards particularly related to what we do. But I do think that being part of the judging process, irrespective of the outcome, definitely gives you something – confidence. The owners of Boston Villa are also media savvy. I think they would have got the house ‘out there’ even if it hadn’t won anything.

DR: Sometimes, one house secures a number of

words Stephen Crafti

awards and that starts a media frenzy. From 2008 to 2010 our Klein Bottle House received numerous local and international accolades, including the 2009 World Architecture Festival Award. Every magazine wanted to cover it, which then resulted in indirect spin-offs. Larger corporate clients began asking us to tender for substantial projects.

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MH: Entering awards costs time and money. And even if that time pays off, and you win, you don’t necessarily see immediate financial rewards. The phone doesn’t ring the next day with everyone suddenly wanting to engage an award-winning architect!

EF: I increased my fees after I received my award. I think I was under-quoting before. Winning it gave me the confidence to say I’m on par with the architects in my peer group. But all projects require negotiation; each one is different.

DR: We didn’t alter our fee structure when the awards started coming. But I think that clients whose projects won awards started to value, more than usual, what we were providing. It’s great when you win, but even if you lose, the client offers comforting words: “We’ve been robbed!” And developers do use awards to promote new projects. It’s certainly more appealing for buyers to see a sales or marketing campaign from ‘award-winning architects’.

MH: I don’t think it’s necessarily awards that create work or allow you to charge more, but they do provoke interest, from both the media and [prospective] clients. Our clientele generally visits one of our venues, whether it’s a bar, cafe or hotel.

If the place is busy, they’re more tempted to approach us. Designers thinking of making quick money on the back of awards will be disappointed.

DR: Awards are about creating a dialogue and an architectural archive of what your peers consider to be the best work that year.

EF: Awards are an important part of a practice’s evolution. You certainly wouldn’t be in it (that is, architecture) for the money.

MH: The awards give you and your entire practice an opportunity to assess what you’ve been working on over the past year. They give you a sense of reflection.

Emilio Fuscaldo received his first award in 2011.

Founded in 1988, McBride Charles Ryan has collected 36 awards; its designers regularly step up to the winner’s podium at the annual AIA awards. Since establishing their practice in 1992, the architects at Six Degrees have won countless awards for housing, commercial and institutional projects.

MCBRIDE CHARLES RYAN MCBRIDECHARLESRYAN.COM.AU (61 3) 9510 1006

NEST ARCHITECTS NESTARCHITECTS.COM.AU (61 3) 9329 2390

SIX DEGREES ARCHITECTS SIXDEGREES.COM.AU (61 3) 9635 6000

gl bal design economy intro Au.thentic Press

I

n 1893, English Australian immigrant Sir Lawrence Hargrave invented the Box Kite (a very early form of paraglider), which first took flight from Stanwell Park located in the Illawarra region of New South Wales. This, along with his work on rotary engines which powered early aircrafts, gave birth to the very first forms of international travel, which in turn has become the facilitator of Australia’s creative presence.

More than just the lucky country, Australia has long been a place of innovation. It is on our shores that everyday objects such as the Hills Hoist and Victa lawn mower were invented.

After returning from a long stint living and working in the United Kingdom, myself and my

business partner pitched an idea for a book to a number of leading international publishers.

The concept was based around Australia’s position on the global creative landscape. It would investigate the world-class work of designers already established in Australia, and explore that of international designers settling in Australia.

While the response was overwhelming, it was the general opinion that the book would not sell overseas. In the minds of the publishers: why would international markets be interested in Australian design?

In 2012, Au.thentic Press was established as a publishing initiative that would pay homage and bring exposure to Australia’s increasing global design scape.

Already through our work we can see that our design industry, rather than being limited by its shorelines, is at a pivotal turning point as a direct result of globalisation.

As with Sir Hargrave, who made the impossible – make man fly – possible, Australian designers continue to challenge geographical and conceptual boundaries, while also attracting the world-class talent of inspiring creatives looking to foster new opportunity in Australia’s blossoming design economy.

au.thentic press au.thenticpress.com info@au.thenticpress.com

IN-DEPTH

a words Alice Blackwood

DQ studies the pivotal turning points that have shaped Australia’s creative industry into a global design economy.

Raising awareness W

hen Londoner Vince Frost first visited Australia in May 2002 he was struck by the ‘newness’ and ‘can do’ attitude of the country. The highly saturated creative industry of London lacked that same sense of boundless opportunity that was apparent in Australia. In the UK, Frost was one fish among many producing a high standard of work, yet pitching for the same projects as his peers.

Australia’s creative industry by comparison was fresh and fertile, yet somewhat naïve, and unversed in the developed design economy that was already driving England and Europe.

At that point though, the only way to communicate with clients and colleagues was by phone, fax or DHL. “It was phenomenally frustrating at first, you might have to wait days if not weeks to receive a photocopy of artwork,” says Frost. “When things changed and became about email, it transformed the ability to work anywhere around the world.”

With this evolution in technology and communication, early adopters like Frost saw the possibilities of working across numerous markets from a single home base. “It didn’t matter for me that I was sitting in Sydney, rather than London,” says Frost. “I could still create the same outcome.”

And he went on to prove this true, settling in Australia in November 2003 and creatively directing four issues of Zembla magazine with London-based Editor Dan Crowe, direct from

Clockwise from top left / Central Park brand identity & collateral by Frost*; Zembla magazine, creatively directed

by Frost*

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his new headquarters here in the heart of Sydney.

In establishing himself in Australia, Frost could see the demand for entrepreneurial designers who had a gift for communication. “When I first came here, people would say ‘clients are terrible, they don’t understand design’, but I found that wasn’t actually the case.

Clients are more than willing to embrace design, it was about how people were selling it.”

The tipping point came with the refinement of a design language in client ‘speak’, and a growing understanding and implementation of ‘design thinking’ as a problem solving tool.

The latter in particular saw clients become empowered within the design process, “considering new ideas, rather than regurgitating old ones,” says Frost.

“I think there’s definitely a confidence in the market now, and I see people looking around the world for other innovations and like-minded organisations that are, from the top down, encouraged to be brave, confident and forward-thinking.”

Frost for his part is a key facilitator within the Australian design industry, building an awareness among the greater public around the value of design, opening the design process into a collaborative undertaking.

Recent major projects include the strategic vision underpinning the redevelopment of Central Park into a ‘global village’; and the transformation of the Chinatown

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What VIP Indesign Milan event Where Milan, Italy When April 2013 Guests VIP clients, designers and friends from around the globe indesignlive.com (61 2) 9368 0150

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01 Guest with Leanne Chin 02 Laura Garro with guests 03 Peter Röhrig, Richard Munao 04 Erol Frank Tezel, Sandro Fanuli 05 Edwina Withers, Kavita Lala 06 Guest, Jan Johansen 07 Guests 08 Aidan Mawhinney, Marcus Benz, Jo Mawhinney, guest 09 Guest with Leanne Chin, Nicky Lobo, Ben Chiliberti 10 Lauren Black, Jeffry Tsang, Griffen Lim, Gavin Harris 11 Charlie & Sally Brazier

with guest 12 Phil McCall, Stewart Brown 13 Anton Assaad, Boris Tosic 14 Guest with Chris Gale 15 Guests with Jamie Durie 16 Zoe Johnson with guest 17 Kris Torma, Mandi Keighran 18 Lydia Taskovska, Kim Torma 19 Nadine Bush, Hersahn Elhane, Russell Sloss 20 Frank Mantovan, guest 21 Lydia Taskovska, Rachael LeeLeong, Nicky Lobo 22 Guests 23 Michelle McEwan, Etoile Nasrallah

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WHAT’S A TABLE WORTH? Element by Tokujin Yoshioka for Desalto Sculptural. Form. Structured. Utility. Art. Engineered. Natural. Visionary. New.

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