Design Anatomy
Welcome to Design Anatomy, where we examine the world of interiors and design. With a shared passion for joyful, colour-filled, and lived-in spaces, Bree Banfield and Lauren Li are excited to share their insights and inspiration with you.
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Design Anatomy
Reinventing Classics: A conversation with Simone Haag
Recorded in front of a live audience from the gorgeous Living Edge showroom here in Melbourne, this special episode celebrates our official launch of The Design Anatomy podcast last year. Hosts Bree Banfield and Lauren Li engage in a wonderful discussion with renowned stylist & interior decorator Simone Haag.
We explore the intersection of classic design and modern creativity, delving into how iconic pieces like the Eames Lounge Chair continue to influence contemporary aesthetics.
The conversation highlights the importance of personal stories in design, the challenges of sourcing unique furniture, and the evolving nature of design trends. Simone shares her journey from residential to commercial design, emphasizing the significance of integrity and enjoyment in creating timeless spaces. In this conversation, the speakers explore the evolving relationship between art and design, particularly in furniture.
They discuss how clients are increasingly valuing pieces that serve both functional and aesthetic purposes. The dialogue shifts to the importance of identifying future classics in design, the role of material innovation and sustainability, and the significance of personal touches in creating meaningful spaces. The speakers also celebrate Australian design and share personal anecdotes that highlight the journey of iconic pieces in their lives.
Keep up to date with the latest on Simone's socials:
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If you're sitting at your desk about to send a fee proposal and you'd just like to run it by someone else first? Or have you ever had a client dilemma and it just doesn't feel right but no one you know understands (except for the dog)?
And do you wonder why you're not raking it in when you're practically living at your desk, busting your creative chops 'round the clock?
These are the things we're diving into with a small group of designers just like you. And so much more in THE CONVERSATION CIRCLE
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thank you guys all so much for coming. I have been looking forward to this night for a while. I haven't really thought about what we're going to talk about, but we'll, we'll be fine. So I have have thought about it a lot. Uh, this is what I think about all the time, actually this kind of thing. But I just wanted to thank you guys so much for turning up for us and for your support, and thank you to living edge for hosting us in such a beautiful space, surrounded by beautiful pieces and furniture and lighting, and just for their beautiful hospitality. Thank you, simone, for joining us for this fun talk, this fun discussion. And thanks, brie, for just being amazing on a daily basis. I don't need any thanks for that. That's just who I am. Thank you, lauren, for yeah, I don't know.
Speaker 1:I think it was probably you that said to me hey, do you want to do a podcast? I can talk, why not? I think I just sent you a text message and here we are. Well, I'm very excited to be your first launch event, first live podcast. Thank you, lily Yeggs, for having us, and you know what. It's so easy finding a park around here after an hour. You're not on the north side. I thought it was a little easier. Lauren and I are just going to introduce you by talking about how we know you, because I think everyone here already knows probably enough about you, with us going on and on about it.
Speaker 1:For me, I think we probably met sort of peripherally I just made up a word, I think when you were starting to do styling, before you started to go outside that, and we had some conversations about how actually that's kind of really hard and I don't want to do that. I'm sorry about photographic sign which in studios and organizing all that stuff, but then I think the first time we properly connected was, um, at a dinner that Lexi Kentman would have organised I won't say it's another furniture brand, so I won't say it but do you remember that that dinner? And I think we ended up sitting next to each other and I was just blown away by how warm you are and how much you share about yourself and what you're doing and so open, which I'm very drawn to, because, if anyone knows me, I'm also a very straight talker and kind of Oversharer. Yeah, very drawn to, because if anyone knows me, I'm also a very straight talker and kind of oversharer. Yeah, what andre for saying be prepared, this is what you're in for. Um, yeah, so it was that whole, I don't know. I thought I felt like we kind of clicked and connected and and since then, you know, I continue to be a friend. So, um, yeah, that was probably the first time we met each other and I don't know about Lauren.
Speaker 1:What's your, your experience? I think that I might have seen your writing on the design files. You were writing this really cool little yeah, stories about cool pieces you'd found, I don't know. And then I think I met you in person at a Great Dane event years ago and I was like, oh wow, that's Moon Harg, first name and last name. I was like, oh wow, that's Simone Haag, first name and last name. And, yeah, I just said hello to you and you were just like super friendly and warm and yeah, I think that was it.
Speaker 1:And obviously, you know, seeing your career absolutely explode and it's just so inspiring, it's just so cool to see, Like, yeah, honestly, it's really amazing, lauren, and I would have definitely said over the years, let's say, um, what would simone do, don't we? I'm going to mind you this situation, like, because we kind of consider to be quite a great um, not just an amazing, um, creative, but also a great business person who's really thought about you know, like not super strategic, but like in a natural sort of way, of sort of managed to kind of do very well with that. So we often think about what Simone do. I think my team, we're going to do T-shirts that say WSD, love it. I'll wear one of those. There's a link in our bio to buy those.
Speaker 1:So, simone, can you tell us what have you been up to lately? Well, actually, truth be known, I've been in Stradbroke, ireland, camping, for the last four days. Oh, sorry, okay, first holiday for the year comes around in November. What's that say? Oh my God, yes, busy, busy. So what's been really exciting for me this year is working with Capella Hotels. So I've made the leap from being a primarily residential decorator to the commercial space. So working for Capella in both Sydney and, most recently, singapore. There is something quite special about getting on that flight as a business traveller. But being like logistics business traveller, suddenly you feel quite elevated, right, we only have the business, we only got the premium economy. No See, I was sharing, we all thought you were in business and you ruined it. So working at Capella has been really exciting.
Speaker 1:We're doing a personal build in the mountain town of Tolley. My husband and I oh yes, I've seen that I'm in surprise yes, mountain house, yes, so single parent king, where's that at now? Wind up, glazing's gone in. Okay, that's that april, april, we're looking at april. That'll come around quick for sure, yes. And so, to add on, my husband's going at a glacial pace and I'm obviously trying to, you know, negotiate lots of collaborations and I said, darling, everyone needs their pound of flesh quick hurry, before they change their mind. So it's a bit of an interplay between time construction being considerate and me using my marketing, putting a marketing hat on. So hopefully April that'll be finished and that'll be available to reach. So stay there on the Instagram. I'm sure it looks like a beautiful area, though Lovely Coupled with that, we were doing one of our newest residential projects, eba in Brighton, so that's very exciting.
Speaker 1:It's a waterfront property in my team with Toski. So I feel like you set yourself these goals in terms of you know what projects would I like to do working on, I think this year I've really ticked to be Foxes in relation to the scale of the property and also international, and I mean some of the properties that I've seen, that have been published, that you've done, are huge. So for you to say that this is a big property, it must be enormous. Well, all those waterfront pans in brenda are quite a large price. What are we talking like? How many bedrooms? Living rooms are such a? It's only six bedroom. We've become a bit blase, you like that.
Speaker 1:So, um, the topic for today is classic. Pieces are timelessly fresh and I just wanted to talk to you about that topic, simone, because I see that you use so many new pieces in your projects, and I mean all of us here, we're all interior designers. But I I'm guessing that I'm not alone in seeing, you know, these new images come out of Simone's project and thinking where's that sofa from, where's that, aren't you? I've never seen that light, I've never seen any of these things before. So when you're specifying these new pieces, do you ever think, oh, I wonder if this one will be a classic one day? Well, how do you even define what a classic piece is? I think when you think about classic, you often think about conserving. Yes. So for me, bringing in those classic elements like how do you put a twist on that conservative flavour so that you can have your own spin on it.
Speaker 1:And I know we were chatting earlier about it, but we've just done a barking for our house. E gruyere, if that's how you burn out in this part cheese and cheese country, okay, whole stream. Yes, gotcha, and the client had a memes chair which they'd had for many, many years, and eames lanta with footstool. And is there a language warning? This podcast? They will be now. So it's so funny because the husband was adamant of using, adamant to use this chair, the chaise, and of course he really wanted it to. But I said is there a way that we could just fat-move it a little bit? And commission was granted, and this chair was then a repulsor in this teal or kind of a leopard skin fabric. Oh my God. So we're photographing the project in late December. So I just said, what's that? Teal and leopard sounds the bunch, isn't it? Eames Teal of Leveux, what a combination.
Speaker 1:So this is a reintroduced piece because they are classics or because I believe they will be classics. They're often chosen because of their form. There's budget constraints, there's palette, there's logistics, there's the client briefed, and so are your different things. But in thinking about classics, I think you often realise that they're a classic until yes. So that's the hall of fame, isn't it? You can't decide. You need to go to the Hall of Fame until you're dead, so you don't just piece a good. If you know how it's a flashy, well, usually the design is probably dead, maybe even in the Hall of Fame somewhere. But you know, that's definitely.
Speaker 1:I think that you will get a lot of people shocked to mess with the classic like that, um, and I think especially with the ings lounge chair, like it's a piece that you can visualize in your mind's eye quite quickly, like it's very um, it's not. I don't think common's the right word. I don't want to living edge. It's kind of famous. Yeah, that's probably a better way for that Famous. Yeah, it's a famous piece. It's very well known, exactly.
Speaker 1:But to do something like that, I wonder if people are going to like, troll you on Instagram. Those Eames like purists or something. Oh, the Eames purists, that's a whole cult that we need to do a podcast about. It's interesting. I might just ignore it. I haven't been trolled on Insta yet, so let's not start now. No, you're not. Fatima said it. Yeah, you haven't made it, simone. Until you've been trolled. This chat is over. She hasn't been trolled. Also, though, you're just probably everyone's like oh, she's so nice. I've got nothing bad to say about you. I'm going to start an Instagram account now that they're Twitter pros oh my God. I hope that doesn't happen now and everyone will be like oh my God, brie is troubling somebody.
Speaker 1:So, yes, on one hand, these are pure pieces that are hugely recognisable. Any people that are a designer don't have a design background will recognise that. That's actually probably a good point, almost that's. What makes it a kind sec is, if you know, we all know furniture pieces, but if your mum or your aunt or whatever that doesn't know anything about it goes oh yeah, I've seen that before, probably in this movie or this series or something. Fraser, I don't know. They're like he'd have Eames, wouldn't he? Oh, he's an Eames purist even. Uh, scarpa, I have some beautiful Scarpa dining chairs at home, which you both, yes, joining me at my house and, um, don't know if you recall the dining chairs, but I do. Yes, tribal fabric Scarpa chair. There you go, yeah, but I think that's.
Speaker 1:This is what you are probably known for, really that reinvention of something that is maybe a classic or a vintage piece and making it feel fresh and new, like that's literally it. I think furniture is there to be enjoyed and if bringing that fabric or bringing that flavour to it creates enjoyment, then I think it can throw the look out the window. And really, don't you think that was the spirit of the games? Like they innovated, they did things that no one had ever done before and I think they would be into teal leopard print on their eames lounger.
Speaker 1:It's mogan as well. Oh, sorry. Wow, I cannot wait to see it. Yeah, I cannot wait. Well, I was talking, um, to lot of the low hair is behind the lipids. Wow, I cannot wait to see it. I cannot wait. Well, I was talking to one of the guys at Living Edge here and we were talking about that Eames Lounge and it does come in a mohair velvet as part of the sort of standard range and I just don't think we see enough of that. No, we see the black leather all day long Leather, yeah, yeah, I can't wait to see them. Sorry, sorry, um.
Speaker 1:But actually talking about you know whether someone's rolling in their grave because you put teal, mohair, leopard skin hybrid. You have met, um, the granddaughter, did you say? Tell us about that. So I was lucky enough. I've taken two tricks to la in the last couple of years and some of you may, if you hold an instagram, seen the la tour which says there was many uh, um, weren't the extreme ashley's people that someone asked me to knock? It's not, it's not in playing yet and uh, on both occasions we went to the case study house, the, the eames house in the big palisades and something. And on the last trip there was this woman who was touring us around. Her name was Lisa. I remember chatting to Lisa and Lisa was the Eames' granddaughter. That's how nice they were. That's very nice.
Speaker 1:It was really special to have a tour from her and I think the biggest thing that I took from the tour with her and still I'm not sure if anyone's done the tour you can either do an interior tour which costs hundreds and hundreds and hundreds of dollars and the wait is about two years, or you want to do the exterior tour and it's literally like the new dash line around the house and you consider it's lucky. In the, in the line at school canteens, you just try to get as close as you can. If you can just sit back. If you step over. It's unsecure. The guy dives out of here and knocks you down. But Lisa did. Let us at least straddle the window frame. It once was inside the door.
Speaker 1:But what was lovely when talking to her was she really humanised their design approach and for her it wasn't just the designs and, I guess, how they were instructed, but it was how it made them interact as a family and that was a really important part and I see it for her. With classics, yes, we can all get an expathy about the styles and names and makers, but really it's about creating moments and that's what. I've walked away, meeting her, which was such a privilege. Yeah, like the, the actual human behind the design, which we probably sometimes don't think about enough, do we was sort of a look at that piece. We think about that and we're not thinking about what went into it necessarily. So that does very much. I love that story and I think very good.
Speaker 1:Oh well, I was just going to say I think that sometimes, you know interior designers, we can furnish homes with a lot of iconic pieces and they are beautiful and sometimes they can get a little bit predictable and I think the way that you have, you know, create, taken an absolute twist on a classic like that. It's really refreshing. So I would be curious to know are there any other ways that you have kind of messed with other classic cases? I think that is fair in a website. What do you do? Oh, the fuck web. Well, I think I've seen that. You know upholstery. You know you've used some pretty bold choices on the pieces like um. One that comes to mind is the gooby uh, what's it called? Pasha? Um? Oh, yes, the fear break. We can't edit for a bit. I think again, it is a. It's a beautiful piece that you have seen a bit around, but when you put a different fabric on it, you know whether it's changing a finish or a color or even just letting a piece mingle with different. Yeah, here is like it creates, you see, a classic in a new light. So that's really fun.
Speaker 1:Yeah, I've gone bad, as you know, materially. I think the trippy thing as well is that you can't always choose the custom fabric you want, and with that killer chair we actually had fine a chair in the lowest possible, great thickish. This was the cheapest possible one of how you did that vintage piece it was new, it was new and then buy the fabric and then recover it. So it's not always the path for least resistance and I think it's like also convincing the client you're going to pay for this in this fabric and then I'm going to rip that fabric off and pay for it again and I feel like I'm going to pay for another fabric which is going to be way more expensive. Madorza Mira, thank you very much. Yeah, pierre Frey fabrics that's a bit of a mouthful. Pierre Frey fabrics are not known for their affordability.
Speaker 1:Another way of classics as well that I'm seeing a movement toward where I'm really excited to share is Mexican pieces. Oh, yes, so I've been looking along at that lately too. Over the last maybe two years I've noticed that also on the rise, there's some great designers there. Well, I'm off to Lex's, her city, in February, so watch this space as I load them. I can tighten up. There was such a really good maker, shands.
Speaker 1:There's a program at ours time called Norfolk, norfolk, norfolk, norfolk, Norfolk I don't know how to say Norfolk, that sounds like I'm a Scottish, scottish. Let's just go back and rewind it for the broadcast. They're the housing of a commune called Norfolk and it is how, actually, you'll love it. It has the most beautiful Lachance sofa from Woody Edge. Yes, what a great brand. We were the first to get this sofa in that job.
Speaker 1:Actually, he's had someone sit in the chair and you take a video of them. It's so funny, it's amazing. You can actually tell the comfort of a trampoline. I'm very dear, actually, because I often I mean, we all probably come across this where in Australia we don't have necessarily access to everything in showrooms and the client wants to sit, particularly in a sofa. They want to know what's comfortable. That is awesome. It's so funny watching the video and they sort of settle in and then when they sit down it's like do they bounce or do they sit Watching it on slow-mo? How much does it balance? That'd be so funny.
Speaker 1:So what was interesting to you is this particular chairs. We had purchased these chairs. They're these gorgeous Mexican chairs. You head to the website and look for the Norfolk Project. They've got a little allowance and they're waiting at you. And then. So he purchased the chairs.
Speaker 1:And then the client and sophia said well, you actually need to have, um, an exporter's license to be a, and I don't know if anyone's ever tried to export any bean out of mexico. No, I was like, yeah, oh, then I would be the one. It was honestly like they thought that I had laced the chairs with certain substances and, in point of fact, it takes to get these chairs out of the dog to the point where we had to end up using an art courier because an art courier was able to share their exporter's licence. So I guess we're borrowing all these classics that you're you knowough, all the except these classics that you're you know, swapping all these, um, these movements that you're hollowing. It's never easy, never easy. Well, I think that's what perhaps sets you apart is that you don't take the easy road. You really, because I mean, that just blows my mind. I'm just like, no, you're not having that chair.
Speaker 1:The idea is that I had you quote the shipping to the client at one, at one price point, but the courier was about 16 times the amount and I and things. The wife was on board, the wife was on board with these chairs and you know it was. It was like a two-prong approach with like saying we've come this far, yeah, you've had to keep going. So I'd like to go ahead to the website and enjoy those. Oh well, I think if you guys are watching on YouTube, we will be showing you the image, because I'm curious to see this little chair with arms on it. I think I know the one, but yes, yes, I'll ask you the two. So I guess that's an interesting point too and it's slightly digressing from the classic thing.
Speaker 1:But if you are bringing things in and you're ending up paying 16 times what you quoted, it might be six, I'm maybe let's stick to 16. I like the exaggeration. Um, no, yeah, like that's. It's got to be worth it, right? Is there a point where you kind of go that's not worth it? Well, my role as a hero dad he's is, I think, to know when to hold her and know when to fold her.
Speaker 1:I think she used the words as the late, not Kenny and sometimes these pieces are so pivotal to your vision that you just have to hold tight, and I think that's you know. Looping it back to the idea of the classics is bringing those elements in that, no matter what happens with the project, these have to be a constant and you have to be really firm, because it is easy for that rate to the bottom or find the cheapest, or we can make our own version of that. But I think that integrity and the integrity of the project is in maintaining the poise on its pieces that are really important. Yeah, that's sort of the good point, I think, talking about classic pieces as well. I mean, I think you did sort of cover that a bit when you said there's sort of when you think of classic they kind of have a conservative feel, but do you think that some classic pieces can also be a bit more decorative and playful?
Speaker 1:Certainly, many of the Memphis pieces from the 80s that's my kind of classic. Is that your kind of classic? What's your favourite piece? Too hard, I kind of just love all of the Memphis stuff, to be honest, and it's better when it's together too. I mean you can take one piece and make a real statement. But, yes, no, I don't know, I don't have a favourite. I like the first chair. It's that one that's kind of got the hoop to the back and it's so interesting because, yeah, it could be a classic piece. I can see it working in interiors now, even in a minimalist space, but also, obviously it's from the 80s. So don't you think it's interesting how classics can come in and come out again?
Speaker 1:Like you know, even speaking of the eames pieces, like I just remember sort of in the 90s and the 2000s, don't you think that's when the eames were like really popular? Yeah, and I was looking at throughout the living, true, true, right like that, yeah, in the mid-century when they were designed, yeah, but I was looking at the living edge range and I was looking at, um, some of the herman miller, you know, like the chrome chairs with the cane seat and back, yes, and they're really having a moment now. I think that kind of came around with all the vintage pieces that were being sourced and now it's like, okay, no, let's go for the brand new because they kind of look modern. They look modern. They look modern, they don't look vintage, but it was designed in 1923. I know it's crazy and I remember them in the 80s as well To show your age, I know.
Speaker 1:I feel for me that the movement's shifting, that people are more accepting of classic pieces as functional art. So I think, people, there is how to move. Like the waist chair is very much like that and a lot of that Memphis stuff would probably be considered to be like where it crosses from art into design, into furniture pieces. There's that little crossover or sculptural there and it's much easier, I feel to convince the client to go a sculpture that can moonlight as a chair, because I feel like it's more of an investment, don't they? When it's more like art and maybe not furniture. But sometimes you do wonder the comfort levels of some of these chairs. Definitely not about that. No video comes into play and they sit down and they bounce. Not that one. Technically it is a chair, but it's kind of art really. But it is easier to get over the line, I feel. Yeah, for sure. Nod is probably one of my favourites too.
Speaker 1:We were just getting some photos out the front where the Batoia if I'm saying that right, um was one of the first chairs I ever specified in a project. That felt like it was a really big deal because they were like these amazing iconic chairs in this reception um, and I'll never like it'll always be kind of a big part of like I'd love to have those in my home and I'm a big I. I love chrome, I also love the platinum range and I feel like that comes in and out of the eras, like it's got a 60s vibe. I sort of think about them in the Hollywood Regency, you know, like early Kelly Wurstler, like luxurious sort of look. So it's really interesting. It's a classic and they come in and out and they're in and out of favour, so, yeah, it's just fun to look back as well. That one feels quite kind of lux to me that range, and it could sit next to Eames easily. I think I wonder, when we're Haiti and we're sitting here doing like a reprise of his podcast and like flossing, it's all not going to be flossing.
Speaker 1:Oh yeah, predicting it is tricky, but I think when it comes to specifying for clients, I don't feel like that's a prerequisite that has to be ticked. I think people now are after pieces that spark joy, that create moments. They're the moments. Yeah, people are watching pieces that perhaps hadn't been seen as often. So how you kind of weave in those pieces that are recognisable somewhere and you say where the hell did you find that? And that's what I hate now about Google People can figure out your sources. Damn it. It's all revealed. And now you've revealed it on this podcast.
Speaker 1:I better myself, you were the first, for sure, and I've actually used that for clients. Like, it depends on the client. Like some people love to know that the value is going to stay with their pieces, and I know I've said that with some pieces designed by Patricia Okiola. I'm like, and I've actually said you know the Eames, right? You know the Eames lounge. It's like a classic.
Speaker 1:I predict this is going to be a classic, but it's of our time and wouldn't you want to hand that down to your kids as a family heirloom? And they love that. See, I've never been asked ever in my career if something I'm specifying for a client will appreciate. It's not a question I'm ever going to ask. Well, I think it just depends on who you're speaking to and I have to say, sometimes that does help some of the husbands, right, oh, what's good to say? I know what can I say, but they want to know that there is a value in it that's going to retain, increase. Who knows? I mean, I don't know. I feel like it's really. It's not a real thing, we can guess, but it makes them feel like they can agree to it, whatever gets it over the line.
Speaker 1:Yes, I think that I feel like the classics can be, um, yeah, like an investment pace, but also I think when you do that mix of the classic that is newer, I think it comes down to like the. If you're going to try and predict it. Sorry, I'm getting to a point. Um is what you said about the Patricia Archeola like I think you can start to notice, especially if there's shifts, like in trends for instance, a good bit of a breakthrough, which was what was happening with, like Eames and things, like people who are kind of like pushing the boundaries, and you can kind of recognise that. Hang on, this is going to be important. This will be something that people will think about and maybe it will take a little while and it will sit there. But people will look back and go that was an important moment in design and they'll say but who chose this wild upholstery? It's just not the law of fame, it's just not. It's interesting.
Speaker 1:I wonder what we make pieces of cloth, is it from a manufacturing? Is it new materials? I think it's all of these things, as well as emerging designers, that are kind of making a bit of a statement. I'm thinking now about my blouse. It's a classic white shirt and then you've got a little bit of that, and I think that's the thing with the high six.
Speaker 1:I know, as we've gone around in a nice little circle, but just how can you take something that is so recognizable and has seemed, you know, a staple, and just give it a little kick, it's well, it's a piece to do. Well, yeah, the piece that I was sort of talking to my client about was the bohemian sofa. It's a moroso sofa and it's kind of like a contemporary take on a chesterfield, so it is. It's kind of taking something that we're familiar with and just interpreting it to suit our lifestyle, our time and, as you were saying, samoa materiality is it something innovative? Is it something forward thinking? We keep talking about it because it's such a good example of a classic piece in my mind, because, you know, that's got that sense of optimism and positivity and and it was doing things with materials that no one had ever done before. I mean, we just take moulded plywood for granted now, but like back then it was so new. So, yeah, I think that sometimes when you're thinking, oh, this could be a classic of our time because it sort of follows that same idea, perhaps we might see that a little bit with you know what's happening with sustainability now and those new materials and how they're being used and how production's being kind of improved and might be. You know, like I think tom dixon's done a few interesting things with that, um, yeah, so that I guess can come down to brand right early brands.
Speaker 1:One thing I've said in back to the dean's house that I spoke of, but when I reflect on standing there on the cusp of the window with the wonderful tower over the other side, for me it wasn't just the piece, but it was how they'd laid it. So just kind of close your eyes and come on a journey with me of like words and runs that are like rugs were, I guess, sort of overlaid over one another. There was all the furniture, a series of blankets, all folded up in a neat pile. There was collections of rocks and found items and twine and dried flowers, and it was just like the pieces were there, that it was just the way that it was so harmonious that and I think it's a constant little story a little bit, but I think it's really important that you can have these icons, for want of a better word. But it's not till you put it on the overlaid run or soften the pile of killings or throw that sheet scheme over the mat that will dim that lamp nearer it allows when they really come alive.
Speaker 1:No, getting a bit passionate about looking, oh my gosh. No, because, like, I'm getting goosebumps just thinking about it because it is. I guess you know you can have all those iconic pieces in a room but it doesn't make the room. And it is those finishing touches and what you're sort of saying, if I'm hearing right, it's those personal touches. I can't go to Noah Frank's living edge, but you don't sell rocks, you don't sell her bits of twine, you can't just go to pick up that stuff from a shop.
Speaker 1:And it's those things that are collected over time that tell a story of a well-lived life, a well-traveled life, that just make a space just feel magic. And there was the lohan pendant. That was so low that you'd kick in there on it if you get inside the door. But that's what I'm talking about. It's worth it, I think. Uh, the other um brand that I think is really enjoyed is vitra. I think that there's and also like that's, quite a big breadth of things in terms of um, it being traditionally classic but also quite playful, like they have a lot of playful pieces. But something that's, you know, been having quite a bit of a moment is that Akari pendant.
Speaker 1:Shelley, have you used that, as well as some of your? Well, actually, there's about 16 of them in this bypass here to bring you about. So you're basically supporting that brand. The quality of life is so important. Go to classics as well. I think it's a real move how Australian designers are in that space and I'm so proud that so many of our design colleagues and our friends are sure are far-reaching creating. I love Australian design and I try to support it as much as I can. I'm quite passionate about it and there will definitely be some future classics.
Speaker 1:I think you know I talk to people, you know when I'm travelling for work in Milan and people when you say from Australia, people literally quote to you designers or brands that they know from there. So it's not, I know we're small and far away, but I'm being noticed. I think I actually had a very exciting invitation I'm not sure if it's under embargo about curating some pieces in Milan next year. Yeah, I was really excited. I you know it's one of those invitations that slip and curing boxing like is this a scam? My response was yes, yes, yes, send and grace. So, uh, someone also really meshful about all together furniture.
Speaker 1:But you don't have to have everyone find our bond or pay. You will raise your little six and you've been just oh nice, yeah, that's way more fun without all the app moving, without the app, and hopefully somebody else will be dealing with all of those import, export taxes or whatever. Absolutely oh yeah, customs and views, the hard stuff, yeah, yeah, and that's I mean honestly. That's also, as I said, we are small and far away. That's probably one of the things that makes it difficult for us sometimes to put those iconic pieces into projects is they do cost more over here and if you're trying to, you know, bring over vintage pieces, you've kind of got to have a container to like pick one. You've either got to really love that, because it sort of increases the value here, but not necessarily the value of the piece.
Speaker 1:Right, I've got a really nice story about a classic which just popped into my head, which is timely, but, um, the soriana sofa at my house, but in one scene, photos of one of my slurred words yes, uh, and I bought this sopa from a gentleman called Don Cameron. Does anyone know Don Cameron? He's incredible. He is Sydney-based, cutting his teeth, doing music videos. If you don't know him, you should look him up. Although he has a very lo-fi profile, like you have to really search for him and so he had this amazing Soriana sopa in his home gallery and that was both about his books as hard as his home gallery. He needs to turn over his furniture regularly and I think I just turned up the right plates at the right time and I bought the whole set.
Speaker 1:Anyway, more recently he's actually messaged me and said did you think I could buy that? And my answer was 16 times the price. Was it a swift? No, but more interestingly than that, I got a message in my DMs from a man who so Don Cameron had bought it from an auction house, then he'd bought it into his home gallery. And then I bought it and I got this DM from actually the grandchildren of the original owners of the sofa in Sydney and they've messaged me photos my sofa in their repair. And he said and look, do you think you'll sell it? And no, sorry, oh, they tried, it would be huge it's. And no, sorry, oh, they tried, it would be you. It's a hard. No, he had some pretty, it's yours now. And that's really interesting because I think that you know you had an eye for that so far, just right on the cusp of it really exploding popularity, because obviously Don wasn't that. He wasn't in tune with it as much as you were. Thank you.
Speaker 1:Well, maybe they can contact you in another 10, 15 years. How long do these start cycles of sort of trends going? And when you're moving on to the next fabulous thing, you can give them a call, maybe. Or just go to the next fabulous thing. You can give him a call, maybe. Or just go to the other house. We're just houses, we're done. I'll talk to me about what.
Speaker 1:Have you even thought about what you're putting into Mountain House? Yes, are there some clothes? No, she hasn't thought about it. This is the first time. Well, actually, so the houses? We bought land three years ago and I've been collecting pieces. Oh, three years, yes, three years. The scarper chairs with the tribal fabric will make their way, actually, oh, patricia O'Keele on the Float Stool, the woven, no, not a lot of room production, they get a bit troubled. Patricia O'Keele on the flow stool, the woven. Now, in a lot of her own production, they get a bit troubled.
Speaker 1:Yeah, how do people find those? I see them popping up onto projects every now and then. I'm like, oh, I love those stories, oceans, they're Archie and how it ends all the way. Okay, yeah, and I suppose you know that is interesting, because you do seem to have that eye for something just right on the cusp of everybody else cottoning on to it, so it's almost like you can identify a classic before everyone else. Like, how do you do that? I think something's done with luck, but I just like there may be some issues in there, but I think it's just a matter of being like too kind right through projects and I don't need to hell dent on. It's just a matter of being like too kind right through your project and I don't need to hell dent on.
Speaker 1:I think you've hit the point now, though, that maybe it started that way, but now you put something in your project and actually that will spark a trend. Very big call for it. There's this well, that's what happens. I think that you know people often take themselves out of oh no, we don't follow trends and we don't blah, blah, blah. I totally understand that, but a lot of the people that talk about that are at the top end of it and they're the early adapters and they're actually the ones who are contributing to what ends up being a trend, and they may not know it, but that's, I think, the point that you're at, whereas something will go into your project and people will go, oh okay, auction house, let's buy those.
Speaker 1:Or maybe all the businessmen in Collins Street are going to be wearing shirts full of tan apps. Oh man, that I like that, especially summer. You know, tan dimes out, I'm just going to spin. Oh man, do we see all these like corporates with their little white shirts, with their? It's feeling very, is it mean girls, like you know? Suddenly all the guys are like chopping their asses. Does anybody have a pair of scissors? Oh, you can do it, lauren. You've got the white shirt, I just need some scissors. Yeah, yeah, we'll just slice it. Sorry, we'll totally digress in there. Just a little. We, I think we're ready to kind of wrap, but on our podcast we finish here and then our YouTube account will have bonus content and the bonus content is a little more personal.