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.
YouTube channel launching soon.
Design Anatomy
Timeless Craft: The Beauty of What Endures
What if “timeless” isn’t a look, but a way of working? We sit down live with Jeremy Bull (Alexander Co.), Simone Haag, Bree Banfield and Nicci Kavals of Articolo Studios to unpack the real markers of longevity: craft, material honesty, and the stories that form when people actually live with their spaces. It’s a candid tour through trend cycles, practical sustainability, and the design choices that keep rooms relevant without sanding off their character.
Jeremy shares how Alexander House was conceived to look old before it looked new, using recycled materials and exposed structure to avoid disposable linings—proof that method and supply chain can shape a lasting aesthetic. Simone dives into the power of collectible pieces and why confidence, not caution, carries objects across eras; she argues that the rooms we remember are built on layered narratives, not risk-free palettes. Nicci opens the curtain on craft, from straw marquetry to cast bronze, and makes the case that honest sustainability sometimes means making the few things people will keep and repair for decades.
We explore the tension that makes spaces feel alive: old versus new, feminine against masculine, stone with glass, minimal shells warmed by art. We also tackle real-world constraints—budgets, kids, shipping, and the myth that avoiding trends guarantees longevity. You’ll hear practical ways to design for optionality: favour furniture-like kitchens, specify solid timber over glues, and choose pieces you’ll reupholster instead of replace. Most of all, we circle back to memory—why a lamp’s glow at 2 a.m. can be more enduring than any “timeless” swatch.
If you believe interiors should age with grace and gather meaning, this conversation will sharpen your eye and steady your choices. Listen, share with a design-obsessed friend, and if it resonated, leave a five-star review and tell us the one piece you’ll never let go of.
Check out the incredible works of Jeremy, Simone & Nicci below
https://alexanderand.co + @alexander_andco
https://www.simonehaag.com.au + @simonehaag
https://articolostudios.com + @articolostudios
Bree is now offering a 90-minute online design consult to help you tackle key challenges like colour selection, furniture curation, layout, and styling. Get tailored one-on-one advice and a detailed follow-up report with actionable recommendations—all without a full-service commitment.
Bookings now open - Book now
Join Lauren online for a workshop to help break down the Design steps to run your project & business a little smoother with the Design Process MasterClass, opening 15th October!
For more info see below
Welcome to Design Anatomy, the Interior Design Podcast hosted by friends and fellow designers me, Lauren Li, and Bree Banfield. We are talking to some amazing guests in this episode, which is a bit of a throwback actually. Bree and I spoke to Jeremy Bull of Alexander Co., Simone Haag needs no introduction, and Nicci Kavals, the designer and owner of Articolo, which is actually where this event was held. So this is a live recording, and the topic is about timelessness and what that actually means in interior design today. Timelessness is something that lives rent-free in my head. I'm always thinking about that whenever I hear that term, which I feel is a little overused, and I was really inspired to bring together a few different perspectives on what timelessness means to them. I really hope that you enjoy this discussion that was held during Melbourne Design Week. And thank you so much for listening. Um, I've had some really cute messages this week. One of our favourite listeners sent me a photo of her dining table with a gorgeous pendant light hanging above it, and she said that listening to us talk about lighting really inspired her. And she bought a beautiful Akari pendant. So this is what we want to do. We are enablers. So if we have um encouraged you to go out and buy a light, well, I think our work is done. So enjoy this episode. And if you feel inclined, we would absolutely love it if you tapped a little five-star review or even wrote us a note. So this discussion today is um what is the purpose of timeless design? The pinnacle of design is creating something timeless. But should we strive for a timeless design and which time? So, in this discussion, we will discuss what makes design timeless with Jeremy Bull of Alexander Co., Bree Leech next to me, Simone on the other end, beating from my list here, and Nicci Kavals of Articolo. And my name is Lauren Li. Thank you all so much for being here. . Um, so I'd just like to introduce everybody. Um, so uh with a wealth of design accolades, a portfolio of exceptional projects, and a roster of enviable clients, Simone Haag is considered one of Australia's leading stylists. Bringing considerable experience and singular vision to every project, Simone defines new boundaries in furniture art and object curation. Her experience lies in producing enduring interiors that overlay distinctive vintage pieces, contemporary design, and her clients' personal narratives define her signature aesthetic. Um, also we have Jeremy.
Speaker 3:Thank you for so for singing the testosterone to the tank to the panel.
Speaker:I don't know if I do that.
Speaker 7:So um, Jeremy Bull is the founder and principal of Alexander Co., bringing 25 years of experience in modern architecture to the table. His impressive portfolio spans exceptional residential and commercial interiors, reflecting his dedication to both technical precision and creative flair. Under Jeremy's leadership, Alexander Co. has become a powerhouse of innovation and creative excellence. Then, uh Nicci. So designer Nicci Kavals returns to the Melbourne Design Week Festival in May to unveil Articolo's first furniture smalls, capable, capsule, sorry, bringing with her a flair for design that has been harnessed over decades in the industry. So lots of long words in that some dead word. So thank you for having us, Nicci, because it's so great to be in your beautiful space. Um each tailored peas encapsulates encapsulating equality and craftsmanship, where contemporary design and tactility converge to make a statement. Articolo home is a true celebration of Cavill's love of Belgian architecture and Italian classicism, together with her respect for contemporary minimalism. Her influences are steeped in European history, yet she cleverly dials the Atelier mode to tap into people's desire for quiet luxury pieces within the home to create modern and practical sheep for the everyday. But I guess what I wanted to say is I mean, you've just come back from Milan as well and New York, so um I like to talk a bit about that as well in the talk. Last but not least. Brie Leach has spent decades perfecting her craft, bringing a wealth of knowledge and sharp eye for detail to every project. Brie's passion is all about transforming interior trends into beautifully styled spaces that are not only visually stunning but also tell rich, engaging stories. Renowned for her trend expertise in trend forecasting, Brie has a unique talent for predicting and interpreting designed trends, making her an invaluable asset to the Australian brands, looking to create contemporary and forward-thinking aesthetic. So I suppose when I was thinking about this topic of timelessness, I was like, who can we talk about to that might have a few different points of views, but they're really at the forefront of the Australian design scene? So thank you guys so much for coming to talk about this topic because it does live and refrain my mind all the time. So um I guess I had just a few sort of questions. And I suppose maybe if I could kick off with you, Jeremy, how do you define timeless design? Is that something that you strive for? Is it something your clients ask for? Or what does that mean to you?
Speaker:Uh yeah, I don't know if it's a I don't know if it's an express request from clients, actually. Like it to be just totally literal about it, I think anything that can endure and last by definition is, I guess, um, timeless. But I think I think we use the word as being emblematic of particular aesthetics as well. So I think you know thinking about our own work, there is something of a intention in terms of um reducing the amount of work we do and and trying to reduce the amount of churn that's going to happen downstream of us. And I think that what we've seen in our work is that does start to look a particular way a little bit, like there is it starts to resemble something that maybe could have been around for a while and might be a bit old, it might be a bit new. But at a totally practical level, I guess really, if we were to night to nail this, it'd be, you know, producing something like a Roman church that in 2000 years was sort of just as beautiful as it was when it was built. So like I think it's a complex topic, actually.
Speaker 7:Funny about that. Yeah, I think that's something interesting. Yeah, I've been thinking about as well. Just that what does the literal meaning of timelessness mean? Um, and do we use it in that literal way? Um, did you want to add on that, Bree?
Speaker 6:I 100% agree with everything that uh Jeremy said in terms of it being something that um endures. But I would say that um timeless design transcends trends. So it sort of goes beyond the trend and and stays relevant for a longer period of time. However, I think that um it's also in the eye of the beholder a little bit too as to who thinks something's timeless. Um, but uh yeah, that's probably the main thing I want to add there.
Speaker 7:So there's yeah, some pieces that can transcend the time they were created. And it's the same thing that's right.
Speaker:I think the challenge is a trend now. We don't have any capacity to know whether uh something which is really hot right now is also going to be time enduring. So you kind of by definition don't don't really know.
Speaker 6:If you have good style, great style, you're a good designer, you do quality work, then it's more likely to be transcending that time period, isn't it?
Speaker 4:And doesn't it have to be of a time? I think that's the point. It doesn't have to be of this moment, it has to be something that will still be relevant in 20 years or 30 years or and beyond. So it's not disposable.
Speaker 6:And that's not easy to do.
Speaker 3:I'm curious as well whether timelessness is something that is identified at the moment, something that's created, or more retrospectively, because you know, and retrospectively surely. That's it, because you, you know, you obviously always strive to make beautiful spaces and endeavour for them to be beautiful, but it's it's that looking back where you can actually reconcile whether you've achieved that or not. That was something that is yeah, for the projects we're doing now, it may be a guessing.
Speaker:We're just guessing, you know.
Speaker 6:So I I don't I don't know about you, but when they set about creating a project or a space or whatever it is, that's not in my mind. So it's an accidental thing that might happen. I don't know, man.
Speaker 4:When I was specifically designed with that in mind, I I want, I think that um from a sustainable perspective, you I don't want to do disposable um product. I want to know that what we design will remain on the walls or the ceilings and be relevant in decades to come. So it doesn't become landfill. We, you know, like the idea in time where we can refurbish, because I think that then also flows into a timeless aspect of you know, keeping something current and just refurbishing it. But everything we do with an intention of being artisanal, different, unique, but also not of this moment. Certainly not um we don't get influenced by fads or trends. In fact, we try very hard to stay away from that. So we try and do something that is unique and not out there. And I think sometimes we nail it and other times we don't. But on the whole, there are certain pieces that I believe are becoming very much, you know, timeless pieces.
Speaker 6:Something I hadn't even thought about was which I should be thinking about, which we should all be thinking about, the sustainability and exactly what you said, because that's one thing that actually hadn't crossed my mind, but it sort of goes hand in hand.
Speaker 4:Well, there's a there was something I saw the other day and it was um on social media, and so some big fashion brand did a catwalk show through la fashion landfill. And it was somewhere in South America, I think. But it touched me because that disposable fashion, disposable design, it's of now, and then it's you know ricocheted. And I think that you know, there's only sort of so much landfill. And I thought it was a really powerful message having a very high-end brand actually catwalking through disposable landfill. So is it a question of quality or timelessness? I think quality is very important and agile crafts. Your craftsmanship is getting lost. There are so many extraordinary, not just glass blows, but cast your cast bronze and leather workers, and so many of these crafts are actually being lost.
Speaker 7:Well, I saw your straw marketry just on the side tables, which is stunning. Yeah, and that is a lost craft craft in a way. So, you know, seeing the fashion go through, you know, this fashion show walk through um all of this disposable fashion. But do you think um it's not that the pieces are timeless, it's just that the quality of it's higher? Because I think, like as you said, Jeremy, like it is hard to know to have a crystal ball and say, no, these designs are timeless because who knows, we don't know, in 10 years we might suddenly think that Victorian furniture is all the vogue again.
Speaker 6:Yeah. I think that that has to be one of the boxes that gets tipped. It's a timeless design, there's quality. It has to be probably the top, the top um, I don't know, yeah characteristic.
Speaker 7:And I think if somebody has paid a lot of money for something, they are going to treasure it, they're gonna prize it. Um, you know, these are obviously, you know, these pieces are beautifully crafted high-end. They're not of that disposable nature. So yeah, I think quality it comes into that. Do you ever have your clients, Simone, ask for a timeless space or something that won't date?
Speaker 3:Yeah, it's quite interesting. I don't think I've had that had that actual brief for timelessness. Um, I think when the when the home has that personal connection to the space, it's contextual, it's it's wanted, it's it there's like a mutual briefing from husband, wife, kids. I think when when when there's that when it's an appropriate design response, it just ends up naturally being more, I guess, more timeless and more enduring. Um got a few notes here, and uh but um, you know, one of the things that I've um got note of here is that that trends are the biggest marker of time. So making it timeless is just to kind of make it trendless. So um the clients that come to us don't actually ever come seeking a trend. Um, they've seen a look and they want their own version of that. But I would say timelessness is is not often an immediate part of the brief, but it's ultimately part of our response because we would see ourselves as there for the you know, the like slow burn spaces, not.
Speaker 6:I always find it really interesting because obviously when you when you're working, not necessarily against trends, but you're trying to be trendless, that's the word. Um what happens a lot of the time is the designers who are doing this actually inadvertently create a new trend.
unknown:Yeah.
Speaker 6:Create a new look, yeah, a new direction. Yeah. Because they're kind of the they're usually the leaders. So they're usually the people who are exploring and doing new things. And then when it gets noticed, um, the people who maybe aren't the leaders and they're the followers who, you know, get coin it. Damn the coin it. Yeah, it sort of creates something. So I always find that really interesting. Um and I I always get a bit frustrated when people go, We we are very against trends. That's I I totally understand why. And when we talk about sustainability, but you're part you're already part of it without even deliberately trying to be part of it. That's probably got nothing to do with timeless design.
Speaker 7:Well, there's No, it does. Well, I I think that yeah, and the topic of trends, like, yeah, it's um even sustainability. Like if you're if you're putting your head in the sand and saying we don't observe trends, we don't look into fashion, well, you're missing out on a lot because even sustainability is a huge wave of change that's come through design and you you gotta take notice of what is happening. But I guess, you know, as you said, Brie, you guys, that's why I've got you guys here because you are leading those trends and you're creating those new, those new trends that um, you know, the Pinterest and it goes in a rounded circles and then they're created five years down the track has come to.
Speaker 6:It's unfortunate that the word trend is used to describe um, I think disposable fashion is probably what it's most related to.
Speaker 3:And that's why most designers go, we don't give it a bit of a dirty name, hasn't it? Yeah, it really is.
Speaker 6:And it's the whole, well, you know, even just talking about it boats so funny, it's quite ironic that one of the big trends is sustainability. When trend is a dirty word for either disposable fashion, but really it's exactly what Smine said, it's marking a point in time, it's unavoidable, we cannot escape it. This is what's happening. Um, when we look back, even at you know what we call a design era now. That was a trend.
Speaker 4:Actually, Eve, I just want to add to that sustainability thing because it is a really hot topic and it is it is very important. But there's also a lot of falsehoods around it too. I think there has to be honesty. So, from our perspective, how do we say that we're sustainable? We're blowing glass. It's one of the least sustainable things that you can do. We're making metals, we're you're shipping products, you know, our glass from Europe, or we're air freighting our orders around the world. So it's not sustainable. We've tried sustainable packaging, and we've really tried. And the bubble rack just is not uh solid enough. So then the product arrives broken, the tape is not sticky enough, so then it opens the box, the boxes aren't dense enough. So then you look at it and you rather than sort of saying, well, we're sustainable because I think you've got to be terribly careful, you've got to look at what is your part and where what is your answer to that? And our answer, genuinely, is we will always try and do things um with the right code and be as sustainable as we possibly can. But if we can design product that stands the test of time and is not replaced, so you buy it once and it hangs on a wall or wherever it hangs, and you feel you love it, you feel proud of it, then we've done our job because that, in our view, is sustainability in the best way that we can do it.
Speaker 7:So um I think what you were saying, um, Simone, it's really interesting that yeah, you are trying to create something that is trendless, and you know, you are able to use your imagination to create that. But on the other hand, sometimes when we're asked to create something that's trendless or that won't date, it's just very void of any layering of any personality or anything. So it can kind of swing the other way. So that also is aiming for timelessness, but I feel like that it's still off its time. Boredom.
unknown:Yeah, with that.
Speaker 3:Um I think um a really great way of saying what we do is is collectible art as a studio and it's the axis in which our entire world um turns is collectible, um, collectible pieces, collectible furniture. Um, so for us, we're thinking about timelessness, it's actually quite tricky because that that those collectible pieces are by their nature quite impactful and quite um probably the the least timeless. So, but I think what is interesting for us is that the way that the pieces come together, it's this jigsaw puzzle that is entirely unique for every client. So yeah, for us, I think collectible art creates a narrative of the home and the owner and where they live and what they surround themselves with. And um, because it's genuine, it's it's a genuine love of the pieces, it's not being specified because we're telling them to, that they have to really be engaged with these pieces because they're not inexpensive and they're not disposable. So by the very nature of that process, the client gets very involved and engaged with it. And I think, you know, for us, that's where the timelessness comes in because they can then associate with it and respond to it and talk about it and actually, you know, invite their friends in and discuss what what it is and where it's come from, um, which isn't again that word enduring, which I know we've used a couple of times tonight already, but I think when they have a story that they can hang their hat on as to why that's what or where it's come from, that creates me longevity in a piece.
Speaker 7:And it kind of leads into another kind of topic, which is nostalgia. So I imagine, like, you know, a space that you've created is so treasured by the client. They're living their life in this kind of beautiful backdrop. And, you know, the kids are growing up, and then in the the next, you know, 20, 30 years, they've got these beautiful memories of this home that they grew up with, and they were surrounded by these pieces and they get handed down to family heirlies. And I guess like with Nicci, you know, they get passed on. That that's the kind of idea. So um, maybe Jeremy, do you think about nostalgia in your work?
Speaker:Is that something that clients have ever I don't know if they articulate these things, but I'm I'm thinking while everyone's talking about the the office that we built, which we built during 2020, because like when we're not new to this, to the story of sustainability, and now we're a B-corp, we're carbon neutral and yada yada. But in 2020, we were like, let's build an office and how do we try and use the office as a landscape in which to learn? And there was kind of various goals, which was that everything could come from a recycled source, that everything could could go to a recycled source, so that um it could be uh burnt, wood shipped, turned into new furniture, compost, broken down, turned into a brick. And and one of the, because it's an office and we have lots of people in it, one of the things that was important to me is that it looked old before it looked new. So that it never got, it never went through that life cycle where it looked old. And so when we were sort of ideating this this building that looked old before it looked new and was built out of a whole collection of materials that could have came from a location that allowed them to also be repurposed in the future, the thing that it came to sort of look like a little bit was something crossed between an old barn and an old church. And we're like, it'd be really beautiful if walking into the office felt like the combination between a hotel foyer and an old church, because there's something nostalgically timeless about that old church thing, the express, you know, exposed structure and something that feels really monolithic and has weight to it and holds the light in a particular way. So I think that one of the things that we kind of and we're still in that building, and and um it was a really beautiful building to be in, and we we we tested ourselves and realized that there was a lot of things that we couldn't do that would have like a sustainable post-consumer life. Like in we couldn't build a bloody couch without using petroleum-based foams and crap like that. Like we just couldn't get around it. But what we did find, and we've subsequently unplugged the underfloor heating because it burns carbon, but we did find there was like various things that were really effective, um, and that we could take material from the old house and turn them into new masonry. And so I guess there was like pillars that came out of it. Well, one was um we use this brick. This is a company called Natural Brick. Okay, we now work, um, like their goal this year is something like 50 million bricks, but or five million bricks. But when we did the project Alexander House, they'd never made a brick for a project. And we're like, oh, what can you do? I'm like, we don't really know. And they were like, okay, take the rubbish from our old house, mulch it up, and turn it into masonry. We're like, oh, that really worked. And so now we find that all of our projects have this brick in it, and the brick has a particular feeling, like an old church. So what what I have found is that the essence of that methodology creeps into all of our work. And clients are always like, what's your style? And I fucking hate the question. And I'm like, uh, but I'm like, what we do have is is like process and supply chain. And I think the kind of concept of craft, like the quality, um, like you got when we build joinery, we're like, don't build joinery and build it in, just build furniture and put it on against the wall. And you can take it with you and go somewhere. So get rid of the formaldehyde chipboards, get rid of the formaldehyde based plywoods, and just build furniture out of walnut. It's going to cost you way more, but you'll be able to bring it with you for the rest of your life. So now you've now your kitchen start looking like a collection of furniture on a concrete bench that could be made from a recycled source and get churned into a brick afterwards. And so that's we've really noticed that is that our we have a style, but not a style per se. We have an output which tries to conform to various performance specifications. You know, we always have these exposed structures because we don't want to put linings in. We always have rural rural walls because we don't want to clad them with crap. We've always got exposed concrete because we don't want to put uh, you know, formaldehyde-based plywood engineered flooring down. Or we got hardwood floors which have been taken from an old barn. So what we've found is that it starts looking a particular way, but not because we wanted it to look a particular way.
Speaker 7:So you've you don't try to have a style, but it's the the values that stay the same. More or less.
Speaker:Like I think the idea of craft, like you connecting things together the way that in ways that are quality looks a particular way. Like you just can't get around it. When you join two things mechanically with a clasp and a screw because it's going to really last, it looks like something. When you weld it two bits of anodized aluminium and then put it into a trough, it looks a certain way. So you you find, I really think that you find that the the methodology has a look, but it's it's a downstream effect of the methodology. And then people go, oh, it's this thing, it's timeless. And you're like, well, it it may look like that. It may look like that, but that was not the plan.
Speaker 7:Um, it's really interesting when you s uh started talking about that, Jeremy, that you sort of said that the space looked old, but it was new, and that's a really hard thing for clients to get their head around because they're spending all of their money and they want it to look new.
Speaker:Yeah.
Speaker 7:So I guess the best way to explain that is to build an office and show them.
Speaker:Yeah. Yeah, it's like a bit like a concept car though. They're like, that's a nice idea, but maybe not at my house. Yeah.
Speaker 7:Um, we touched on before talking about, you know, how could you predict a timeless kind of space? And I think that there are some pieces that do come to mind that are timeless. And I think, do you have any that come to mind? I don't know, I'm gonna tell you what I think.
Speaker 6:Yeah, what do you what did you say? Um I guess it's that same thing of that transcending trends where perhaps it was on trend at the time. Um, the panton chair, which is not necessarily something, you know, like timber and leather and classically um formed in terms of materials, but it was very um unique in its time. So it's sort of these little markers of time, I think, that then transcend um and they kind of mingle well with other eras. That's my other thing too, I think that um when it comes to potenti uh potentially furniture and watching or things that you place within the space. I think timeless for those pieces means that they can kind of go anywhere and it doesn't matter. They don't have to fit a specific look. When they're in the space, they have their own they have got their own language. Yeah, absolutely. And so then they can stand alone in any space and still be, I don't know, still add to the space, still be relevant. That's sort of how I see.
Speaker 4:It's interesting when we approached the flair to those tables. The concept there was what would happen if we do one shape and then we put that shape into different materials? How does the personality of that form change? So, you know, we started with veneer and you know, did these expressed bronze fins. So degree of difficulty just, you know, 11 out of 10, but it becomes very refined and very elegant. So then we thought, all right, well, what happens with the personality of that if we clad it in brass and do burnished brass with the bronze fins, and then suddenly it looks very robust and masculine and sculptural. But then you put it into leather like upstairs, which is a vintage leather, and it's gonna wear and scratch and you know be like your favourite pair of old boots, or like the straw marketer, which is just so incredibly elegant and looks uh like metal actually, but in actual fact it's this age-old craft, and the personality of that piece in exactly the same form has changed again. That's quite an interesting approach.
Speaker 7:So, same design, different materiality, and how that can, yes, sit in a different space and you know, it and yeah, we don't have a crystal ball, but they seem like uh I can't fit them into a trend category, right? That was a minute.
Speaker 4:The approach was definitely not trend. It was trying to find forms or trying to design forms that were not out there. So I wanted to do hot couture for the home. So that it felt um that it had a European sensibility, um, that they were more like um little pieces to dress a space that were just unique and different in their sculptural approach. So that was sort of how it's all started. They're beautiful.
Speaker 7:So beautiful. Um, what about you guys? Do you have some pieces that you consider to be timeless?
Speaker 3:I've had to think about this. There's many, and I think there's one uniting factor, and that's actually confidence. So I think for me, the pieces that have that are quote unquote iconic, for want of a better word, there's this the uniting concept is they've all got a confidence that takes them beyond. And I think that is what is for me the important part. I mean, I think there's some spaces that we've created that have been successful where we've had a confidence about us. And I think that comes from trust and a good budget and enough time and all those good things. But when you have that swagger or the designer has that swagger, and that to me, that is, I don't know it's not a really very precise answer, but I think it's an interesting way of thinking of things. So I think they're confident, and I like the confidence in those pieces, Nicci, where they're not just you know, just not a side table or coffee table, you know, like had it on their own. They can be an entrance moment, pop your handbag down in a restaurant next to the lady, you know, put a you know, you know, the handbag handbag. Like, you know, and I think just pieces like that that aren't always utilized in the ways that they've been intended. Yes, absolutely.
Speaker 6:Which is funny, isn't it? Because I think a lot of us um or a lot of people would think timeless is being caught like kind of peared back and there's not Lot going on because it's almost trying to be too safe, isn't it? Whereas actually what you're saying is right, when you think about it, it's actually the character that makes it timeless, not the lack of. Yeah. It's like uh, you know, people think it's safe to have a white kitchen. Do we all think white kitchens are really dated at the moment? So they're not super timeless, right? But it's yeah, but it's uh in the character.
Speaker 7:Yeah, well, um, yeah, we were talk, we went to a talk the other day and they were talking about Haymor Hall, the interiors being timeless, and it is a bold interior. It's brass, it's mirror. I don't know if it's timeless. For me, that's like so 1970s, but the quality and the confidence of it, it's just stands the test of time in that it's just a great space. Yeah. All right. I guess for you, Brie, like with your work with trend forecasting, it's um how do you sort of think about trends and timelessness?
Speaker 6:Well, actually, it comes into play call with a lot of things that we've mentioned.
Speaker 7:Well sustainability, even you know, yeah. And looking back, like I always find it really interesting, you know, looking back, like looking back back on some of those duelux campaigns, and you just have such a fond memory, like, oh my gosh, remember when we did Millennial Pink, everything? So I think that some sometimes like I think aiming for something that's timeless is kind of the wrong thing. I think aiming for quality and yeah, confidence, but um trying to trying to create a space that doesn't date, I think that sometimes the general public become pretty obsessed with that because real estate character, right?
Speaker 6:Yes, what you're gonna say about the real estate.
Speaker 7:Yeah, so they're so scared that it's gonna date because they're going to sell it. And it's kind of like, oh, oh, when are you gonna sell their house? Are you gonna sell it? Oh, maybe we'll sell it in 10 or 15 years' time. So we'll just go with the white kitchen sort of thing. And yeah, you just feel like, oh my gosh, it's your opportunity to create your home. Put in what you want. And I think that so many people are so scared of that. Um, this whole fear of dating. And I think it's because, you know, they look back on their childhood home and think, oh my god, that was hideous, what we did in the 1980s. Bit of potpourri on the coffee table and the buttons, yeah, little terracotta cherub hanging on the wall.
Speaker 6:This is still cherubs in my family home, too.
Speaker 7:But I think it's yeah, that recent history that we kind of look back and cringe, but somehow, you know, if you look back a bit further or not as far, that seems to be okay. So it's something about a a like, I don't know, 30 years sort of looking back. But you know, we're seeing the 1970s come back, you know, in a big way with furniture. So these things they come in and they go out and then they come back in again. I just find that so fascinating as well.
Speaker 6:There's definitely a cyclical nature to trends. And I think it's a lot to do with nostalgia, actually. I think that people get to a certain point where they actually find fondness in a lot of those things. And so they're more drawn to it, whether that's colour combinations or furniture pieces. Um, so that tends to add to that cyclical nature.
Speaker 3:Yeah, although I find the opposite, though I find a lot of clients will say no to something, mate, that reminds me of what my mom has. Yeah, actually, to me, it has the opposite effect. Yes.
Speaker 6:I think it's oh, and often weirdly at the moment, it's the younger generations, not the so it's like the you know, the millennials who are like, and people who are somewhere into the 90s, which feels like that, isn't it? That's I I've just had a whole discussion about um, you know, 90s homes, and I'm like, that's actually really hard to define for some reasons.
Speaker:But um well, the thing that's coming up in all this is like if you talk about timeless, we're still like like we're we're still talking about product that's like sub 100 years old. Like it's like do to contextualize that what time has been around for a pretty long time. So I'm I'm also like I'm trying to think of an example of for us, and I don't do too much FFNE myself, but we do in the practice. But we did this um this sort of heritage farm in New Zealand in Queenstown, and we did it as a food and beverage project, and they spent hoops of money, and we rebuilt a whole suite of old buildings that were agricultural, and we took them apart, and they were made out of stone. They're stone they're called schist in Queenstown, it's like a blue granite-y sort of stone and timber, and we unbuilt them and then had to put all the coutremonts in to allow them to be habitable spaces and deal with earthquakes, and we rebuilt them. And so those buildings are they date between 100 and 200 years old, which is about as old as anything gets these days that we're working on, but just interesting in terms of like what is the goal here that we're working on? We're doing this project in Isle of Wight, and it's got a hundred-year life cycle goal when we're doing a house in bloody these suburbs of Sydney. You're lucky to try and get someone to get to 50, and it's probably 20. So I'm also like within the kind of vernacular of timelessness, like we're also talking about inherently not very timeless things. So like everything's a minute.
Speaker 7:Well, I went to see an event for design week today. I went to see Daniel Barbera's um furniture sculpture range, and he is inspired by ancient artifacts, and it's so wild to see like he's uh experimenting with glass and melting down glass, and again, he's he's only in his own trend, he's in his own little bubble of experimentation, and that is so inspiring. Um, but yeah, you're right, you know, sometimes you can look uh go into the the National Gallery and stumble across some Egyptian chair and it's like 5,000 years old, and you're like, but that looks so modern. Like, so yeah, we we do kind of talk about it in pretty recent times.
Speaker:Fetishizing contemporariness, I guess.
Speaker 7:Yeah.
Speaker:Um, but I think if you if you change the constraints, say actually it's got to last 200 years. Like I think you almost you almost have to rule out most of what we do because, like, well, that leather chair is not gonna go the distance and that cladding is not gonna go the distance. And you end up with these these buildings which are made out of stone and which do look like a Romanesque thing because it's about the only thing that truly is timeless, the rest doesn't.
Speaker 7:And I guess on that topic of quality as well, it's not always true. Like, even if it's a really high quality piece of furniture, it is worthless and it's so dated. And I just think about yeah, Victorian furniture, beautiful handcrafted timber inlays, and you cannot give them away. So it's not always true that just because something's of a good quality that it's going to be handed down, like all these family heirlooms that, yeah, you just can't even give away.
Speaker 3:It's gonna sound a bit weird, he said he took me to the basement. Not in that kind of way, but anyway, it was and down there he said, Oh what, do you reckon you can sell this to one of your clients? And it was exactly bad. It was it, and I said, Oh, oh sorry, and it was in the garage. I think it had like dumbbells in it.
Speaker 7:I said, I think it's best kept with well now's the time to buy up all those pieces. We just have to wait about 30 odd years.
Speaker:Yeah. But I think at the same time, if you can turn it literally turn into another piece of furniture or firewood, who cares anyway?
Speaker 3:Yeah, absolutely. Well, that's part of it, right? Or the varnish, wouldn't you just get it high off the fear? Yeah.
Speaker 4:Cheap Japanese burning. I mean, make a a beautiful vintage piece, Japanese burn it, and bring it back to life again.
Speaker:Like what what are what what are all the life cycles that the thing can go through? It doesn't have to be right. You don't have to nail it for it to last 200 years. It just has to have another purpose that you can't foresee.
Speaker 4:You know, there was something that I saw many years ago, and it was wheat sacks that were actually the most beautiful wheat sacks that were actually turned into gorgeous armchairs. And it was in um Harrods, but it was just so clever. And it was just repurposing. So just because it's a Victorian, you know, Graham Getty's table, just turn it on an axis and do something different with it, and suddenly it's you know, relevant.
Speaker 7:You know, the fact is we have indoor toilets now, we don't need a washstand and all of these pieces of furniture. Like that I guess I guess is where trends come in, and you've got to repurpose and something that was created for that life, it doesn't suit our lifestyle anymore. Thank goodness we're indoor toilets. So I guess on the the flip side of looking for timelessness is looking for newness and freshness and innovation because I think if we keep looking back and we're always in that pursuit of something timeless, then we're missing out on something new. So I feel like um Simone, like with your work, you're always showing us something new. So I suppose is that something that you seek to do? Or does that kind of keep you invigorated?
Speaker 3:And one thing that um I guess when the development of my practice was working with a you know an incredible design studio where um when I went out when I went out on my own, I made a very deliberate choice that I had to go down a completely different direction aesthetically because I felt otherwise it would it would be disrespectful to my employees to sort of adopt their look. So I sort of thought, well, where have I been for the last eight years whilst being um employed? And then if I flip it and walk the other direction, where's it going to take me? And I think for me that was looking further and wider and getting pieces that weren't necessarily accessible in um in Australia, that weren't represented, you know, you couldn't um you couldn't get easily. And so I think what that does do is it creates a business where there is a lot of difficulty in importing things, a lot of difficulty once you have imported them, if they're not quite right, you can't return them. Um the logistics, um, customs duties, all of that has made it's I've had to employ a person full time to help manage that. But what it has done is it's brought in a suite of pieces that people aren't seeing, and I think that has propelled our aesthetic um beyond. So I think for uh, but you know, certainly very supportive of all our local suppliers, couldn't do it without them, but just that layering of going, all right, what is inaccessible here? And now let's make, let's bring that and it's not easy. It's definitely sometimes sometimes I say to the to the girls, no more direct imports on this job. We just have to go to church street. Well, I love church street and I love I love all of the street suppliers, but yeah, for us, it's like what are the things that are too hard for everyone else to get and make those our point of difference.
Speaker 7:And yeah, I guess that comes back to you know, creating those timeless spaces by creating those, yeah, bringing bringing together those pieces. You're not thinking, well, we could, you know, use the panton chair like tick, like that's gonna look good. Because there can be a bit of a formula.
Speaker 3:I'm also very conscious of um the the ability of people to loan pieces for chutes and and and access things and how then everyone is come, there's a small pool that everyone's learning from. And then when you want to go buy those productions, they can't buy that because actually X, Y, and Z have loaned it for their chute. So I think um it's actually this. Oh no, thanks, so for you it's trying to go, okay, I'm seeing this a lot and I've just gotta that's my business model is to is to go, okay. I have to then try innovate, you don't repeat yourself, you're always looking for newness, freshness. If a client if a client asks for uh us to specify something we specified before, we'd really um caution against it and and almost if it's unique to that client or that job. So yeah, try not to to repeat things.
Speaker 7:I was gonna say, did you guys have anything else to add before we open up for questions?
Speaker:I I only on the the newness thing versus the oldness thing. I actually think that the there's a certain health in the work when there is a tension between the two anyway. So although I don't think we have an interest in looking new or an interest in nostalgia, I think we have an interest in the tension that lies between the two. I think it's in it's in seeing something as feminine and masculine, as light and dark, as old and new. I think it's in that space in between that things get really kind of alchemical. So so maybe to to just answer it through our lens, neither matters as long as you find yourself in the tension between both.
Speaker 3:What was that in my notes?
Speaker:Alchemical, yeah.
Speaker 3:Yeah, sure.
Speaker 7:I wrote that down too, Sarah. So I guess um, yeah, just open up to any questions. Does anybody have any thoughts, questions they wanted to add? Don't be afraid. Do we cover off timeless list entirely?
Speaker:Should we throw it at the journalist in the room? Yeah, good.
Speaker 8:Yeah, okay.
Speaker 1:So this uh when you were talking before about um the point was something that you brought up and readmirping, that's what it was when you thought about readmurpacing, it made you think. I went to a talk last year um by Manuel Matias, watch his architect, who does work on pieces, sort of architecture that he not to the I wouldn't want to use the word timeless, but he's very injury. It's got the brilliance quality, so it's well very, very vast in itself, materiality of it. But he was talking about transcending and transcending train basic hope but also creating this injury aspect by making sure that, and this is more in up with the term architecture and guilt for built environment, that spaces can be agile for their use. So that comes down to like furniture, it comes down to all aspects of design, I think. So when it comes to reclips, when you're talking about the overwash stands and like what can they become to there? But if you can walk into a building that was once a church that then becomes a house, that then can be kind of soul, yeah, they do go beyond that 100 year you're talking about.
Speaker:There's this author who I love called Nasim Taleb, he's like an economical statistician, but he talks about this thing called the Turkey problem. And the the premise is that the Turkey is fed for 364 days and on the 365th day, it's killed. But up until day 364, it's assured that life is great. And he's talking about he's talking about another concept. But one of the things that always comes out is you don't really know what's going to happen next. Like we're all just, you know, falling backwards. So we don't really know what's going to happen next. So the one thing you can do is to create some optionality in your work, which is where I like it, like a solid timber thing, which can be broken apart and chopped up, is better than a chipboard thing where there's no economy in doing anything. You throw it in the bin. So I think underpinning the turkey problem in architecture and design is like, how do you just know that you don't really know what's going to happen next? And so allow your work to have some optionality at it. You want to take it and break it, you want to take it and burn it, you want to take it into make a new thing. It doesn't really matter because it can do all those things. I think that's a form of timelessness is that simply we don't anticipate what's going to happen, but we allow space for anything to take place.
Speaker 3:I like the idea of pieces that have had that in the uh have been a trend or on trend, like the idea of all of those in the one room at the one time. And then what trend does that create? But have fun. Do you think like all of those? Just really fuck with them, put it all in the one space, and then guess I want to figure it out.
Speaker 6:But that's what I was gonna do this year at the end. Oh, really?
Speaker 5:Any other questions at all? I have a question in here somewhere. It's not particularly formulated, so bear with me.
Speaker 6:But within this talk, there's the timeless being something that is withstood to the test of time. Well, the thing is, um, the aesthetic of something doesn't necessarily fit into one category that from this panel of designers who all have, in my opinion, um, different aesthetics and it was a style journey. Um But well, you guys do that stick talk about it, very bad over there. But so about sort of really enjoying the same Korats sub hundred years, and we called them timeless. And I would say that although the many of us who had the same interest would agree with the products that we've spoken about in that way. Um so there's you know a bit of a dark dichotomy and what timeless is. Is it is it uh an aesthetic that doesn't adhere to one particular um space that or or period that we go, or that's still as relevant today as it was 50, 60, 70 years ago and it'll be 50, 60, 70 years, or is it that this product is strong, durable, um, recyclable, reusable? And so there's you know, there's two different things. And I don't know about everyone else, but I'm constantly torn between the I want to complete my space, buy once, buy well, and it be done beautiful, I can finally rest and enjoy it, and I want to refresh my space and it's a new thing that is found around and delicious, and have you seen all the new foods up? Very sudden, unfortunately. So for me, I don't have a a healthy budget, Simone. Abelas, some of you and I'm putting juice. Well, and so what am I choosing then? Am I choosing something that is robust and I can put it in once to know that I've done a great job? That's perfect to the place, or that I can take with me and then don't get to repurchase something or make it, or do I make it?
Speaker 5:Or what do I see? There's not a question.
Speaker 6:The way I usually answer that is you have to connect to the piece. I engage with it. And that is what Smarrie talks about. So it's a different answer for everybody. I don't think it's the same answer for everyone. I think that when you're going, okay, well, if your aim is timelessness, you can't choose something that you still don't engage or connect with because it's not really timeless to you at all in the end, is it? It's just a piece that you put in your house that you spend a lot of money on and Jesus, now we've got to move and I'm gonna take this thing with me and I'm done, you're gonna really like it. You've got to love it. You've got to have some connection, you've got to have a reason for that piece, not just it looks good against that wall that's green. It has to have some other meaning for it to be for it to endure, right? Nation is always the way.
Speaker 3:I think you also want to think about it in terms of uh a space never being finished. I thought you so if you never, yeah, that the idea that it's you've never got to the end, you've never stopped to be able to, you should never stop and look around and go, I'm done. Um, which some of our clients will say.
Speaker:But you can take a thing off and sell it and move a thing, like that's all part of the game anyway.
Speaker 3:I love it when we have a bump in and things come in and things and yeah, yeah. Things are like in different rooms and we'd anticipate and we're like, oh, that was a happy accident. But um, I think the idea that space is actually never finished means that then, you know, when does that timelessness kick in or when does that stopwatch start? Yeah, shouldn't it be?
Speaker:There's an argument is never it never starts and never stops. And we have a a practice which has got like more than me in it. And when we do work, there's other people involved, like there's journalists who write about it and photographers. And the other thing is one project never ends, but depending on who's involved, the project just takes all these different shapes. So, like we will do a project, and our projects can take four, five years, longer, six, seven years. And then a journalist will come and write about it. You're like, never in seven years did we ever imagine the project was that, but that's really cool. And then a stylist will come through to do a photo shoot, and you'll be like, never thought to do that. And I guess that the the work keeps emerging long after your your intention is done, and even you don't have to stop letting it emerge either. So like I don't think you I don't think there's a tension there. I think it's just there there isn't a fixed thing called a project. There's just people engaging in the in the in the game, and it can keep playing for as long as you want. I think the point is each time you play, you just don't put on the sidewalk.
Speaker 7:So the answer is you can keep buying stuff. And editing. So, you know, I like all of the things as well, but it's yeah, editing down. So I like new new things and evolving and changing, but it doesn't mean I have to jump on every single trend bandwagon. Like you, if you have your design values and you know what they are, then you can kind of edit the trends to what you love. Does anybody have any other thoughts, ramblings, questions?
Speaker 2:I was gonna say, out of what we've all said, I think the nostalgic idea is what is what the timelessness really is, and especially with what we've just spoken about, is that you can buy, you can sell, you can keep. But I think what we stays with you is the things that you've chosen well, or you have connection, or it come from your family, was handed down. And I think that's really what tirelessness, I think what we've scoped about it, kind of is. I mean that tie. Like that.
Speaker 3:Just yeah, thank you. You starved a thought for me there as well, which actually I hadn't thought about until just now, but so thank you. But um, with this with pieces, like I think about my home and I'm very lucky to have collected some beautiful pieces. But when I look at the room, I don't think about the Soriana sofa because I love the Soriana. I think about sitting there with the hubby watching the kids singing on the stage of the stairs. So for me, a lot of it's not necessarily about the furniture pieces, but it's the engagement that happens where they just happen to be like part of the sh part of it. So I think that's a really nice way to think about spaces is less about the pieces in them. But what do those pieces allow you? How do they allow you to interact and in what way and who with? And they're the memories you take away. Like that's a really ego. Thank you for triggering that thought. Yeah. Like, well, the coffee table that it's not the table itself, but it's the kids drawing on them and draw and you know, and they certainly go off the page with the permanent mark and you're like, oh, kind of cool. So those kind of things.
Speaker 7:I think there's a lot to be said for that because you know, you have some beautiful pieces in your home, but it's not like a museum. And you live in your home. And I think that is why I kind of uh bristle a bit when it's too much of a museum and you feel like you can't live in it. And and that does help with that memory and the nostalgia, and you know, yeah, it's lovely. Any other questions?
Speaker 6:Just about like specifically about yourself into it. So your practice has a different aesthetic to your home. Like my home is actually I found I found it interesting when you um see links behind a designer's profile practice, and you see kind of see your person much more um and what their how their personal expression differs to their uh practices expression. I'd be super interested to know like that something you find in timeless at your house isn't what an audience might see in the practices that you portray. Would you guys be willing to share something from which is your own aesthetics that you might find timeless from your own house?
Speaker 5:Great question.
Speaker 4:Or was it a question? Well, I was just I'm not quite sure if I'm even answering this properly, but for me, my home is or our home is it's a curation of objects that I've collected far and wide. So things that have been picked up on travels, even just little found objects. Um, it my grandmother's paperweight, which is a cast bronze hand, uh and you know, fizzy bull paperweight, which actually turned into a fizzy bull. But it's so it is it's layered and I'm constantly moving it around and I'm constantly, you know, changing my books or moving things here, there and everywhere because it's a living space. And um, and I've got objects from all sorts of different walks of my life that were collected when I was young and now collected also now. And there are, you know, I've got a beautiful Fritz Hands Hansen chair that I just adore, and it just gets moved with me wherever I go and wherever I put it, it's always great. But I know it's a it's like an evolving space of memories and things that touch and are important to me. So it makes it a personal space. Is that the best answer? I don't know. I answered you. My house is like this, it has got Venetian plaster walls and it has got, you know, crafts bricks and all of that. So I do love a minimal um contemporary uh architecture aesthetic, but then within, and it's not too abundant, but within I have layered pieces of furniture in different materiality, which for me is, you know, that the walls and the architecture is the canvas, and then everything else is actually um the way that I live and how it's designed, and that's the softening, the layering in the space.
Speaker 5:You know, this is so beautiful, it's minimal, it's toninal, but it sounds to me like if you have lots of memorabilia from various stages of life all around the world, still things.
Speaker 4:There's a rich. There's a a vase I bought in France, and he was just this, I don't know, like this uh atelier, like he was a a a glass blower. And what he did is he laid when he was blowing this really thick bottle, and the bottle shape wasn't particularly amazing, but every was lovely, but he actually laid little rods of steel, or it was probably brass actually, but obviously it then changed and blackened with um when you're laying it into hot glass. So it was actually cast within the glass, and it was so many years ago. I was 20 and I'm nearly 60. So, but they hadn't done that. I hadn't seen anything like it, and it's such an interesting piece. And then there's like this little Japanese plate with Milifiore, which is, you know, this plate is ceramic, but it's white Milifiore glass, so it's rods of glass that they cut like this, it's like tiny little sort of flowers, but it was done only in white on white. So then when that was actually then uh warmed and embedded into that uh porcelain, I mean it's just so expressive and artisanal and atelia, and nowhere else do you find something like that. So I like those sort of objects that are just speak because they're unique.
Speaker 7:And it's interesting, they're both glass and pink.
Speaker 6:How interesting to hear you speak about those items, which is not not that everyone hasn't spoken with complete passion about everything to do with this talk, but when you speak about the personal, your voice comes really alive very differently to when you speak on Hample about a topic. I design a really beautiful to you of outbreak personal.
Speaker:Oh, um I'm I'm thinking because we I like I have a house and an office and an office, and we they're they're very different, like the spaces are very different. I don't know about you guys, but we spec furniture wrong all the time, and it ends up at back at my We're trying to avoid it.
Speaker 3:Occupational hazards.
Speaker:So there's always there's always like a flow of shit between the houses and um left shades, right shaves, looking at it, right sitting hundred or nine hundred? Yeah, should have been six hundred. Um But one of the things that that I have a very domestic life, I just kind of have kids and a family and dog and well, but one of the things I do like to do is to hang out in hotel foyas when I go traveling. And there's something about the experience of feeling very undomestic and very foreign in a hotel foyer. So I always search out, search out these hotel foyas which are active. And so there's this thing in my head. Um, I think in uh Buddhism they called it a samsara, but there's this thing in my head where I'm like, I really go searching for the lack of familiarity. I really like to be a stranger in a space because it reminds me of traveling. So actually, my house now, because the furniture flows in, flows out. I have a very unfurnished house. I have four kids, and so we have practical stuff, but basically unfurnished. We have entire rooms with no furniture, like a a mat on the ground. Padded walls, a carp, like a carpet, and that's in a fish tank. But I but one of the things I really like is when I go to work, which is um the the offices are next door to my house, and they're really different, is I like the foreignness, I like the unfamiliarity, and I like the fact that nothing in there feels like it belongs to me. So I would take it, but just to give a counterpoint, for me, um, like I got an old Artemedes Ptolemae light that's held together with like tape that I brought back when I was 18, traveling, and I'm 45. And I have no affection for it at all. But it is a piece of nostalgic collectible. But the thing that I love is the foreignness. Like I my favorite work is the work I didn't do. So I love the foreignness of sitting in someone else's space and going, This is really cool. I never would have thought of this. It reminds me of it, that experience of being very undomestic.
Speaker 3:The favorite thing in my house is probably it's just a simple Santa and coal lamp. You know, the one it's like a glass blown orb with a little timber, the timber same thing, and you can move it around and part of me put it on tables or on the floor. And it's we've only ever had three houses with my husband or one better apartment, um, our first family home, and then and now our forever home where we we'll be into wedd until we die. Um and but I love that lamp because I love the glow that it creates and then the mood that then as a result of that it creates. So it's not necessarily the piece, it's what the piece does, and it has a dimmer and it goes from bright as fuck to as dim as you like. And you kind of can think about when you've gone through not you, breeding babies, breastfeeding babies, or when you've gone to like where you look, you know, it's just there's one lamp that it has all this like it's there the whole time. Yeah. So I've got lots of beautiful pieces, but it's that that makes me very happy.
Speaker 6:I hope struggle to. Picked out one thing, only because I probably only just started to invest in pieces recently. So I have a couple that I think will be with me for a long time. But I have a very domestic household as well. Uh, three boys and a dog means a lot of mess and a lot of chaos. But I'm a bit of a collector, so I had lots of just random op shop pieces, vintage pieces that mean more to me because I remember where I found them. Even I've got two fantastic Italian chairs that I found around the corner from my house when I was walking the dog. And they're on wheels, so I just wouldn't I love that.
Speaker 4:Exactly.
Speaker 6:I know those will probably always be with me, or they'll be given to like one of my kids or something reupholstered because they're just one of those things where you're like, that just doesn't happen. Um, and artwork for me probably as well. That's something that I generally don't get sick of unless I bought it on a whim. Um and I do have a lot of also drops and things from sheets like the f or the furniture or something that got scratched or with the gravitator back. I mean, not lots for like enough that there's a few random things that maybe I will not purchase. Um artwork then probably is a big thing for me, timelessness in terms of if I connected with it and I've purchased it and I've I've done that with only maybe a handful of pieces where I've seen it, and even if I couldn't afford it, I found a way to buy it.
Speaker 5:Yeah.
Speaker 3:Heart money. I'd never about it. The piece in your house that you love the most is the piece that you didn't buy and you wished you had. Oh, that story and if I heard it, one of my upholsterers um was telling me a story. Um, I can't think of what's the name of you know the De Certe sofa that's like the island where it's like got all the little, it's like it's like um quite quite topographic topographical, you know, that I can't think of the the actual piece. Um and there was a house that was having an auction somewhere in Caulfield North and it was getting wheeled, like getting um taken out of the house into the truck for the auction, and someone sort of like caught it there and said, Hey, I'll pay you X for it now before it went to auction. And and so I hear stories like that, and it just makes me like, you know, I get it almost get the shakes of thinking, why wasn't I in Caulfield North on that day when that drama passed? Um, or I did an LA trip recently, and there was a lot of us that were in this market, and I actually was almost hyperventilating because I've got to find the best pieces here. And I walked around a corner and both a girl that I was traveling with and I spotted something at the same time, and she was like two steps closer. And I was like, and I still think about it. So I think for me it's the pieces that I didn't get, but actually that I think about more than the pieces that I did. So personality type.
Speaker 7:Okay, guys, thank you so much. I think I'll wrap it up. Um, thank you so much for coming and speaking on this panel. It's been such a fun discussion.
Speaker 3:I'm not sure.
Speaker 7:No, it's great. Um, so could we just give everybody a nice round of applause? We've got the utmost respect for the Wurundjeri people of the Kulin Nation. They're the OG custodians of this unceded land and its waters, where we set up shop, create, and call home and come to you from this podcast today. A big shout out to all of the amazing elders who have walked before us, those leading the way in the present, and the emerging leaders who will carry the torch into the future. We're just lucky to be on this journey together.