Design Anatomy

Best of Design Anatomy Series: A conversation with Simone Haag

• Bree Banfield and Lauren Li • Season 2 • Episode 31

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Design Anatomy will be releasing a 'Best of' series starting today, revisiting some of our most admired, inspirational & popular episodes for you to enjoy over the holiday season! Bree & Lauren will be back with more amazing guests early 2026

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:

https://www.simonehaag.com.au

@simonehaag 

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

The Design Process MasterClass ONLINE

Speaker 4:

Welcome to the Design Anatomy, the Interior Design Podcast hosted by friends and fellow designers, me, Bree Banfield, and me, Lauren Li, with some amazing guest appearances along the way. We're here to break down everything from current trends to timeless style. We gathered together with a group of design colleagues and friends to launch this podcast in a live recorded conversation with renowned interior decorator and stylist Simone Haag in the Living Edge Showroom in Melbourne.

Speaker 3:

We shared personal anecdotes highlighting the challenges and rewards of sourcing classic furniture and reflecting on the evolving nature of design trends. In this episode, we explore the intersection of classic design and modern creativity.

Speaker 4:

We discuss how iconic designs such as those from the Eames legacy continue to shape contemporary aesthetics while offering opportunities to create spaces that feel both grounded and innovative. You'll hear Simone discussing how she upholstered this classic Eames piece in a leopard print fabric, which actually is amazing.

Speaker 5:

And embracing these stories, designers can really craft spaces that feel authentic and deeply personal, resonating with the people who inhabit them. And this approach also highlights the role of quality and integrity, ensuring that design stands the test of time too. Also, it's just a really fun conversation. Simone is always a real hoop to talk to. Oh my god, we get we get some good laughs.

Speaker 3:

We sure do. I mean, she's so open. She shares so much about her her life and her creativity and the whole process. And it was just everyone was sitting in the audience with just a big smile on their face the whole time. It was the best.

Speaker 4:

It was a great night. Thank you to Living Edge for that as well.

Speaker 3:

Oh, they were amazing. And thanks to Simone as well, she was just brilliant. And before we get started, I just wanted to remind you guys that the Design Society is opening up to a special mastermind that we're doing.

Speaker 4:

We're doing two small groups, one for emerging designers and one for more established designers, so that we can just live our best creative life and operate a profitable practice.

Speaker 3:

We're learning about marketing and we're just supporting each other in a small group of like-minded designers. So lovely.

Speaker 5:

Sounds so fun and obviously informative.

Speaker 4:

Um, jump in there too for a link to sign up for uh information on the things I have coming out in 2025, which is a bespoke design curation that you can use for creating your own space at home with a limited budget and regular trend information as well as some short courses that we'll be releasing a little bit later in the year too. All that good inspiration. I love it, Bree.

Speaker 3:

Okay, let's dive into this fabulous episode. It is a good one. 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. Um, 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, um, this fun discussion, and thanks, Bree, for just being amazing on a daily basis. I don't need any thanks for that. That's just who I am. But um Thank you, Lauren, for um. I don't know. I think it was probably you that said to me, hey, do you want to do a podcast? Or fuck yeah, like all right, I can talk. Why not? I just sent you a text message. And here we are. Well, I'm very excited to be your first launch event. Alive just line podcast special. Thank you, Lily Yeach, for having us. And you know what's so easy finding a park around here after our like you're not on the north side.

Speaker 2:

I thought it's a little easier.

Speaker 3:

I mean, it's um Adelaide 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 and us going on and on about it.

Speaker 2:

Um for me, I I think we probably met sort of peripheral peripherally. I just made up a word I meet.

Speaker 3:

Um when you were starting to do styling before you started to go outside that and we had some conversation about how actually that's kind of really hard and I don't want to do that.

Speaker 2:

I'm sorry about photographic style, which in in studios and organizing all of that stuff.

Speaker 5:

But then I think the first time we properly connected was um at a dinner that Lixi Kentman would have organized.

Speaker 3:

I won't say it's another furniture brand, so I won't say it. But um, do you remember that, that dinner?

Speaker 2:

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. Well, 100%, be prepared. This is what you're in for.

Speaker 3:

Um, yes, 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. I don't I don't know about Lauren. What's your experience? Oh, I think that I might have seen your writing on the design files. You were writing this really cool little um yeah, stories about cool pieces you'd found. I don't know. Um, and then I think I met you in person at a Great Dane event years ago, and I'll I was like, oh wow, that's Moonhard. First name and last name. Um, and yeah, I just said hello to you, and you were just like super friendly and warm, and yeah, that I think that was it. 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.

Speaker 2:

Um Lauren and I would have definitely said over the years, let's say, um, what would some do? Don't we? What would some do in this situation?

Speaker 5:

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's Simone do.

Speaker 3:

I think my team we're gonna do t-shirts at Sage Ups W S D. Love it. I'll wear one of those. There's a link in our bio to buy those. So, Simone, can you tell us what have you been up to lately? Well, actually, truth to be known, I've been in Streadrope Island camping for the last water awesome bit. Okay. Um, first holiday for the year comes around in November. What's that saying? Oh my god, yes, busy, busy. So, um, what's been really exciting for me this year is working with um 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. Uh, there is something quite special about getting on that flight as a business traveller or being like Let Just Business Travel.

Speaker 2:

Suddenly you feel quite elevated, right? The business.

Speaker:

We only got the premium economy.

Speaker 2:

No. Tell them something. See, I was sharing. We all thought you were in business, you know, you ruined it.

Speaker 3:

So working with Capella has been really exciting. Um, we're doing a personal builds in um a mountain, the mountain town of Tolly, my husband and I. Oh, yes, I've seen that on Instagram. Yes, mountain house, yes. So single parent king, midwind. Where's that at now? Window glazing's gone in. Okay, that's out. We're looking at eight ball. Uh that'll come around quick. Okay, yes, inside. Yeah, done.

Speaker:

My husband's going at a glacial pace, and I'm obviously trying to, you know, l negotiate lots of collaborations. And I said, darling, everyone needs their pound of flesh, quick hurry, before they change their mind. So it's it's a bit of a uh uh interplay between um time, construction, being considerate, and me um using my marketing, uh putting a marketing hat on.

Speaker 3:

So hopefully April that'll be finished and that'll be available to reach. So on the Instagram, I'm showing it looks like a beautiful area though. Lovely. Um coupled with that, we were doing one of our biggest residential projects ever in uh in Breeghton. So that's very exciting. It's a water bunk property in my team, Tosky. So I feel like uh you set yourself these goals in terms of you know what projects would I like to be working on. I think this year I really ticked Jubi Foxes in relation to the scale of the property and uh and also um 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 waterfronts in Breetain are quite large, right? What are we talking? Like how many bedrooms, living rooms, etc. It's only six bedrooms. Who is six? We become a bit blurred, I know you like that. 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 answer? 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, ooh, I wonder if this one will be a classic one day? Or how do you even define what a classic piece is? I think if you think about classic, you often think about conservative. Yes. So for me, that bringing in that those classic elements is like how do you put a twist on that conservative flavor so that you can you can add your own spin on it? And um I know we were chatting earlier about it, but um we've just done a barking for an house e Gourillo, if that's how you know this part. Cheese and cheese country. Okay, whole stream. Yes, gotcha. And the client had a memes chair, which that had for many, many years, and Eames Lanter, which would stall. And is there a language warning this podcast? There will be now, I'm very so it's so funny because the husband was adamant of using adamant to use his chair, the shaves, and of course he really wanted it to, but I said, Is there a way that we can just butt with it a little bit? Um and commission was granted, and this chair was then reupholstered in this teal or kind of a leopard skin. Oh my god. So we're photographing the project in late December.

Speaker 4:

So how are I just teal and lamp and sounds the buttons?

Speaker 3:

So I know this is a reuse pieces because they are classics, or because I believe that will be classics, they're often chosen because of their form. Uh there's budget constraints, there's palette, there's logistics, there's the client brief, and so you different things. But in thinking about classics, I don't think you often realise that they're classic until the hall of faith, isn't it? You know, you necessarily go to the hall of until you're dead. So you don't just just piece of code if it's my hook, it's a classic. Well, usually the design is probably dead, maybe even in a hall of fame somewhere, but in that that's definitely 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 to famous. It's probably a better way for that. Famous, yeah, it's a famous piece. It's recognisable, exactly. Um, but to do something like that, I wonder if people are going to like troll you on Instagram, those aims like purists or something. Oh, the aims purists, that's a whole pulp that we need to do a podcast about. It's interesting. I'm logically not. I haven't been trolled on Insta yet, so let's not start now being no, you're not funny mistake. Yeah, you haven't made it someone in two years. Also, though, you just probably was like, Oh, she's so nice. I've got only dad to say about you. I'm gonna unstart an Instagram account now that it's why it's troll someone. So, oh my god, I hope that doesn't happen now and everyone be like, oh my god, Bruce is trolling some okay. So, yes, on one hand, there's these are pure pieces that are hugely recognisable. Uh, any people that are design that don't have a design back brand will recognise that actually probably a good point.

Speaker 2:

Almost that's what makes it a kind sick is if you know we all know furniture pieces, but if your mum or your art or whatever that doesn't know anything about it goes, oh yeah, I've seen that before.

Speaker 3:

Probably in this movie or this series or something. Fraser, I don't know, yeah, like he'd have aims, wouldn't he? Oh, he's an aims purist. Even uh Scarpa, I have some beautiful Scarpa dining chairs at home, which she both Yeah, so she's joining me at my house and um don't if you recall the dining chairs by the tribal fabric, yeah, there you go. Yeah.

Speaker 2:

But I think that's this is what you are probably known for, really.

Speaker 3:

That reinvention of something that is maybe a classic or vintage piece, um, and making it feel fresh and new, like that's literally it. I think furniture's there to be enjoyed, and if freeing that fabric or bringing that flavour to it creates enjoyment, then I think it can throw the law book out the window. And really, don't you think that was the spirit of Vic Eames? Like they innovated, they said the triwood, they did things that no one had ever done before. And I think that would be into Teal Leopard Print on their Eames Lounge.

Speaker 1:

Oh, sorry. Wow, it really was sad. I can't wait to see it.

Speaker 3:

Yeah, I cannot wait. Well, I was talking um to one of the guys at Living Edge here, and that was we were talking about that Eames Lounge, and it does come in a mohair velvet is part of the sort of standard range. Um, and I just don't think we see enough of that. And see the black leather all day I leather, yeah. Yeah, I can't wait to see that.

Speaker 2:

Sorry, sorry, Living. Um, but actually talking about, you know, whether someone's rolling in their grave because you've put teal, mohair, leopard skin, hybrid.

Speaker 3:

You have met um the granddaughter, did you say? Tell us about that. So I was lucky enough. I've taken two tricks to Del A in the last couple of years, and some of you may, if you hope on Instagram, seen the LA tour, which there's there was many a um wasn't that street.

Speaker:

Ashley's he was someone asked me to not play, play that.

Speaker 3:

Yes, it's not if not. And uh on both occasions we went to the case study house, the the Eames house in the Spit Palisades and sung it. Um and on the last trip there was this woman who was touring us around. Her mate was Lisa, remember chatting to Lisa, and Lisa was the ex-granddaughter. That's what nine years they were. Very good. Really special to have a tour from her. And I think the biggest thing that I took from the tour with her, and it was still I'm not sure 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 nicknashed line around the house, and you can sort of sloppy in the in the line at school canteen.

Speaker:

It's probably as close as you can. So a lot of you don't obviously step over at Sunset kind of died out of early and opposite there. But uh Lisa did let us at least straddle the window frame, get one source inside the door.

Speaker 3:

Um but what was lovely when talking to her was it was just that it really she really humanized their design approach. And for her, it wasn't just that the designs and and I guess what like how they were instructed, but it was how it made them interact as a family. And that that was a really important part uh and I see it for with classics. It yes, we can all get an expathy about styles and names and makers, but really it's about creating moments, and and that's what I walked away uh 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? We sort of look at that piece and think about that, and we're not thinking about what went into it necessarily. So that does very much humanise it. I love that story. Anna go. Oh, well, I was just gonna 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 pieces? I think that is wearing a website. What do you do? Motherfuckers. Oh, what is energy? Oh, yeah. Well, I think I've seen that, you know, upholstery, you know, you've used some pretty bold choices on pieces. Like um, one that comes to mind is the Gooby uh, what's it called? Pasha. Um yes, with the theo fray tweed. Well, I think again it is a it's a beautiful piece that you have seen uh a bit around, but when you put a different fabric on it, you know, it whether it's changing a finish or a colour or even just letting a piece mingle with different um eras, like it creates you see a classic in a new light. So that's really fun. Yeah, I've gone bad aging momentarily. I think the trippy thing as well is that you can't always choose the custom fabric you want, and with that particular chair, we actually have buying the chair in the lowest possible grade. It was new, and then buy the fabric and then recover it. So it's it's not always the you know, it's not always the path for least resistance to pay.

Speaker 2:

I think it's like also convincing the client, you're gonna pay for this in this fabric, and then I'm gonna rip that fabric on and pay for it again, and they're gonna pay for another fabric, which is gonna be way more expensive.

Speaker 3:

Yeah, PA Pierre Frey Fabrics. Well, it's a bit of a mouthful. Pierre Frey fabrics are not known for their um affordability. Another way plastic swell, what I'm seeing the movement toward, and where I'm really excited to share is um Mexican pieces. Oh, yes. So I've been looking a lot at that lately, too, over the last maybe two years. I've noticed that also on the rise. There's some great designers. Well, often lets her city in February, so watch his face as I load him a container. Yeah.

Speaker:

There was such a million franker shares as a program to the house called Norbook. Norfolk? Norfolk? Norfolk? Norfolk? That sounds like I'm Scottish. Scottish.

Speaker 1:

Let's just go back and rewind that for the broadcast.

Speaker 3:

They're the housing filming called Norfolk. And in this house, actually, you'll love it. It has the most beautiful Lachance sofa from Woody H. Yes, what a great brand. We were the first to get this sofa in that job. Actually, a living eagle starts you. They um they had as a buyer's film because we couldn't test the comfort. We said, can you please have someone sit in the chair? Can we take a video of the of them? So it's amazing. You can actually tell the comfort of a chair. 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, it's particularly in a sofa. They want to know what's comfortable.

Speaker:

That is awesome. It's so cool watching the video and they sort of settle in, and then when they sit down, if I do like that. Or do they sit?

Speaker 3:

Watching it on slow-mo, how much does it balance? That'll be so cunning. Um, so but what was interesting to you to his particular chairs, we had purchased these chairs, so there's gorgeous Mexican chairs. You head to the website and look for the Northboat project. They've got loaded glance and they're white eating at you. And then so we purchased the chairs, and then the client uh Sophia said, Well, you actually need to have um an exporter's license to be a porker. And I don't know if anyone's ever tried to export any bean out of Mexico.

Speaker:

No. And I was like, Yeah, oh then I would be the lucky portray.

Speaker 3:

It was honestly like they thought that I had laced to the chairs. We send substances and in here in Puerto Facted Tats to get these chairs out of to the point where we had to end up using an art courier because an art courier was able to share their exporter's license. So I guess we're in Borough's that these classics that you're you know squashing or 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. The loyalty is that I did quote the shipping to the client at one at one price point, but the outcore was about 16 times the amount. And I and 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 had to keep going. So I'd like to watch head 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 was doing the two.

Speaker 2:

But um, well, so I guess that's an interesting point too, and it's slightly digressing from the classic thing. But if you are bringing things in and you're ending up paying 16 times what you quoted, has to be it might have been six.

Speaker 3:

I may be apologize for sixteen, I like the exaggeration. Um, no, yeah, like that's it's gotta be worth it, right? Is there a point where you kind of go, that's not not worth it? Well, my role as a curator is is I think to know when to hold it and know when to mold it, I think.

Speaker 1:

She used the words of the late, not kenny.

Speaker 3:

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 is bringing those elements in that no matter what happens with the project, these have to be a constant. And I think you have to be, you know, really firm because it is easy for the raid to the bottom or find the cheap assist, or we can make our own version of that out. But I think the integrity and and the integrity of the project Lard is in in the in maintaining the poise on those pieces that are really important.

Speaker 5:

Yeah, that's sort of the good point, I think.

Speaker 3:

Um 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 uh when you think of classic, do you they kind of have a conservative feel? But do you think that some classic pieces can also be a bit more decorative and playful? Certainly many of the Memphis pieces from the the Abiyans Mark kind of class. Is that your kind of classic? What's your favourite piece?

Speaker 4:

Oh 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.

Speaker 3:

Um, 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 the lahoot to the back. And it's so interesting because yeah, it could be a classic piece. I can see it working in 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? Like, you know, even speaking of the Eams pieces, like I just remember sort of in the 90s and the 2000s, don't you think that's when the Eams were like really popular? Yeah. Um and I was looking at throughout the century true, right? Like that off. Yeah, in the mid-century when it came back. 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 um chairs with the cane seat and back. Yes. And they're really having a moment now.

Speaker 2:

I love that.

Speaker 5:

I think that kind of came around with um all the vintage pieces that were being sourced, and now it's like, okay, no, um, let's go for the the brand new because they're they kind of look modern.

Speaker 3:

They don't look at vintage, like it was designed in 1923. No, it's crazy. And I remember them in the 80s as well. I know. It I feel for me that the movement's shifting that people are more accepting of classic or this classic pieces that as functional art. So I think people there is how to move. Like the waist chair is very much like that.

Speaker 5:

And a lot of that Memphis stuff would probably be big considered to be like where where it crosses from art into design into um furniture pieces, there's that little crossover or sculptural.

Speaker 3:

Yeah. Yeah. And it's very, it's much easier, I feel, to convince a client to go a sculpture that can moonlight as a chair. Because they feel like it's more of an investment, don't they, when it's more like art and maybe not furniture. No, but sometimes you do wonder the comfort levels of some of these. Chairs definitely not about that. 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.

Speaker 2:

No is probably one of my favorites, too. We were just um getting some photos out the front where so the batoya, yeah.

Speaker 3:

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.

Speaker 5:

Um, and I'll never like it'll always be kind of a big part of like I loved have those in my home. And I'm a big, I love chrome.

Speaker 3:

I also love the platinum range, and I feel like that comes in and out of the errors, like it's got a 60s five. I sort of think about them in the Hollywood region. So, you know, like early Kelly Wersla, like luxurious sort of look. So it's really interesting. It's a classic, and it they come in and out of their in and out of favour. So yeah, it's just um fun to look back as well. That one feels quite kind of luxe to me, that range. And it could sit next to aims easily, I think.

Speaker 1:

Hawanda we're Haiti and we said he doing like a reprise, his podcast, like, and like flossy, that it's all not gonna be fussy.

Speaker:

Oh yeah.

Speaker 2:

Predicting it is is tricky.

Speaker 3:

But that I think when it comes to when it comes to speci specifying for clients, I don't feel like that's a prerequisite that has to be ticked.

Speaker:

I think people now are after pieces that sparkle, that that that that create moments at the moments, yeah.

Speaker 3:

People are watching so watching pieces that perhaps hadn't been seen as often. So how you kind of weaving those pieces that both um are recognizable somewhere, and you say, you know, where the hell did you find that? And that's what I hate now about um Google image. People can fear out sources, damn that it's all revealed. And now you've revealed it on this podcast. Um well I better myself. You were the first, for sure. Um, 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 um some pieces designed by Patricia Urchiola. I'm like, and I've actually said, Do you know the inns, right? You know the ings line just like a classic. I predict this is going to be a pl 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 you're specifying for a time will you will appreciate. It's not a question I've ever been asked. 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, I was gonna say it. But they want to know that there is uh a value in it that's going to retain, increase. Who knows? I mean, I 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. Yes, that I think that um I feel like the the classics can be um, yeah, like a 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 gonna try and predict it.

Speaker 5:

Sorry, I'm getting to a point. Um is what you said about the Patricia Archeola.

Speaker 3:

Like, I think you can start to notice, especially if there's shifts like in trends, for instance, like a bit of a breakthrough, which was what was happening with like eings and like people who are kind of like pushing the boundaries, and you can kind of recognize that hang on, this is gonna be important, this will be something that people will think about, and maybe it will take a little while, it'll 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 interesting. I wonder what makes pieces of classic is it's from a manufactur like is it new manufacturing, is it new materials, is it's old and just things as well as emerging or designers that are kind of making a bit of a statement. I'm thinking now about my blouse. You know, it's a classic white shirt, yeah, and then you button little bit is there. And I see that's the thing with the classics, I know it's we've gone around in a 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 not a piece to do. Well, yeah, the piece that I was sort of talking to my client about was the Bohemian sofa, that'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 pre that we're familiar with and just interpreting it to suit our lifestyle, our time, and as you were saying, some more materiality. Is it something innovative? Is it something forward-thinking, you know, with the in 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, um, and it was doing uh things with materials that no one had ever done before. I mean, we just take molded 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.

Speaker 5:

We might see that a little bit with, you know, um what what's happening with sustainability now and those new materials and how they're being used and how production is being kind of improved, and might be, you know, like I think Tom Dixon's done a few interesting things with that.

Speaker 3:

Um, so that I guess does can come down to brands, right? Early brands. One thing uh who I was in back to the Dean's house that I spoke of, but when I reflect on standing there on the cast from the window with the one little toe over the other side, for me it wasn't just a 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 woat and runs that like um runs were um I guess sort of overlaid over one another. Um there was all the furniture we series of blankets all folded up in a neat pile. There was collections of rocks and and found items and and and twine and dried flowers and it was just like the pieces were there, but it was just the way that it was so harmonious that and I think it's a little sorry 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 stop in the pile of kilns or throw that sheet skim over the mat that will dim that land near it. That's when they really come alive. No, getting a bit passionate about looking at the room. Oh my gosh, no, because like I'm getting goosebumps just thinking about it because it is, I guess, um, 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 lie, it's those personal touches. I can't go to Noah Frank's Living Edge, but you don't sell rocks, yeah, you don't sell bits of twine, you can't just go to pick up that stuff from a shop. And it's those things that are collected over time that tell a story of a well-lived life, a well-travelled life that just make a space just feel magic. And there was a 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 has really enjoyed is Vitra.

Speaker 5:

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 3:

Shelley, have you used that as well as some of your um well, she's about 16 of them in this firepass there to bring you about. So if you're basically supporting that brand, the quality of life is so buoyancy. Go to classics as well, I think. It's a real move of how Australian designers uh are in that space. And I'm so proud that so many of our design colleagues and our friends are sure are far, you know, creating. I love Australian design and I try and support it as much as I can. I'm quite passionate about it. And there'll definitely be some future classics.

Speaker 5:

And I think you know, I talk to people, you know, when I'm traveling um for work and in Milan, and people, when you say from Australia, people literally quote you um designers or um brands that they know from there.

Speaker 3:

So it's not we're I know we're small and far away, but we I'm being noticed, I think. I actually had a very exciting invitation, I'm not sure if it's under embargo, about curating um some pieces in the land. Oh, mix, yeah, yeah, it's you know, really fighting it. I um, you know, it's one of those invitations that sleep and curing boxing. Like, is this a scam? My response was yes, yes, yes, send and grow. So uh someone also really mesh for that all together furniture that you don't have to handle you want fun or bond or pay. You already should lose six, and you can just oh nice, yeah. That's that way more fun without all the app me. Without the app and hopefully somebody else will be dealing with all of those import-export taxes or whatever. That's a moon. Oh yeah, the customs and use that the hand stump. Yeah, yeah.

Speaker 5:

And that's I mean, that 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 uh 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, right?

Speaker 3:

I've got a really nice story that a classic, which just pulled into my head, which is timely, but um the Soriana sofa at my house, betting one scene photos of uh one of my slowts, yes. Uh and I bought this soap from a gentleman called Don Cameron. Does anyone know Don Cameron? He's he's incredible, he is um Sippy based, Cunning's T doing music videos. If you don't know him, you should look him up, although he has a very low-fi profile. Like you have to really search for him. And so he had this amazing Soriana soaper in his home gallery, and that was both about five um spokes and um I started with home gallery, he needs to turn over his furniture regularly. And I think I just turned up the right plays at the right time, and I bought the whole set. Anyway, this more recently he's actually messaged me and said, Did you think I could buy at that? And uh my answer was 16 times the price.

Speaker:

Was it was a swift no.

Speaker 3:

But more interestingly than that, I got a um a message to my DMs from a man who so Don Cameron had bought it from an auction house. Then he 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, this is my sofa in Nebra Pair for a boop cakey, and he said, And Lou, you didn't you'll sell it?

Speaker:

And no, sorry, I'm again.

Speaker 3:

Uh it's a hard note. He had he had some pretty pretty it's yours now. Yeah, 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. So And he didn't even realise right. I called you a story the brood.

Speaker 2:

He just needed the he popped that for a pretty good bar back at the time.

Speaker 3:

I remember you telling me the story and then him going, hang on, I think that was a bit too chi, but and of course now it's being re reproduced um at at the as of the new classic. So um but I think with that comes the idea that that then attachment to pieces. And st and I do feel really bad for the grandson who did what so different has the picture, but it uh and how it kind of yeah, behemoth was a layer of um Connecting connecting that to human appearance.

Speaker:

I do so a bit of a beach.

Speaker 3:

Well, maybe they can contact you in another 10-15 years. How long are these start cycles of sort of trends going? And when you're moving on to the next fabulous thing, we can give them a call. Maybe.

Speaker:

Houses we're done either.

Speaker 3:

I'll talk to me about what have you even thought about what you're putting into Mountain House? Yes. And there's 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, uh, and I've been collecting pieces. Oh, three years. Three years. Uh the scarper chairs with the tribal fabric will will make their way. Um actually, oh the shirkyola um clothes, the woven. No, not a lot of room production. They get a bit trouble. Yeah, how do people find those? I see them popping up onto projects every now and then. I'm like, oh, I love those options. They are chinhounds. Okay, yeah. Um, 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 onto it. So it's almost like you can identify a classic before everyone else. Like, how do you do that? I think something would love. Um, but I just like cook there may be some intuition there, but I think it's just a matter of of a being right to kind, right your project. And I don't need to held in Tom.

Speaker 5:

I think it hit the point now though, that maybe it started that way, but now you will put something in your project and actually that will spark a trend. There'll be confidence.

Speaker 3:

There's this well, that's what happens.

Speaker 5:

I think that you know, people often take themselves out of um Oh no, we don't follow trends and we don't blah blah blah. I I 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.

Speaker 3:

And that and they may not know it.

Speaker 2:

Um, but that's I think the point that you're at, whereas that something will go into your project and people will go, oh okay, auction house, let's buy those.

Speaker 1:

Like, or maybe all the businessmen in Collins Street are going to be wearing shirts for pan up like you. Oh, never do that.

Speaker 3:

I like especially summer, you know, to hand arms out.

Speaker 1:

Um, may do we see all these like uh corporates with their little white shirts with their it's feeling very um uh is it mean girls, like you know where suddenly all the guys are like chopping their arms.

Speaker 2:

Does anybody have a pair of scissors? Oh you can do it, Lauren. You've got in the white shirt.

Speaker:

I just need some scissors.

Speaker 2:

Sorry, we'll totally digress in that just a little.

Speaker 5:

Um we I think we're we're ready to kind of wrap, but um on our podcast we finish here, and then um our YouTube account will have bonus content, and the bonus content is a little more personal.

Speaker 2:

We have a couple of questions now um to ask you, um, and I'll start and then we can do the next one, Lauren, which is um I actually this is one of Lauren's questions, but I'll ask it because we've talked about this.

Speaker 3:

You probably know what I'm gonna say, which is that we've discovered a lot of creatives don't have hobbies. We just work, that's kind of our hobby.

Speaker 5:

So our question is do you have a hobby? I find that word quite funny, too. It's very of a fashion.

Speaker:

Do you have a hobby?

Speaker 3:

This is like crochet or something. It's interesting. I'm I'm 45 this year, and I obviously had a lot of hobbies growing up, and I think work in children had absolutely like maxed me out for the past 15 years where there hasn't been a hobby. And I think it was I did read somewhere in Abyssina about needing to make sure that you uh do something for yourself. Yeah, and I mean at the as you both appreciate, and many people in in this room would appreciate that when you love your work so much, it's that's an eagle distraction to get away with new children. So I don't know that. But um, I have become a soccer mum this year, and my two eldest daughters uh have gotten somebody and our hits, uh revisitable mums, go wild on the soccer. Yeah, all so is that what it's called? No, not quite.

Speaker:

I think it's called Mafana, I think he called Mara Sokka.

Speaker 3:

No, you're changing that. Yeah, or go wild as soccer. We had a Paris versus kids game at the end of the Sada season, and my head of big 3K had, and my husband actually said, Darling, you've got white lines, Have so I am gonna get myself at a little Makilda's fever. So I think my little secret crush is soccer. I'm imagining playing soha, and is watching. I don't know if anyone saw the game recently against um Germany. Anyone who wants to go to get Germany, it's worth a Google that I mean across at a whole from about halfway across the peach and just a lot of Freddy's moments, yeah. And I just watched that. I bit of a key watching it. So my little secret hobby is in a bizarre healthy hobby. So we're talking about you know, everybody knows obviously you're a very stylish person, but have you ever had a little style faux pas that you are willing to admit? This is Bree's question, by the way. Winnie Shano.

Speaker 1:

Do you guys do you ask Thomas Uwe Kelly one?

Speaker 3:

Yeah. Oh it stays in this room. Okay, so I did have this Rachel Comey jumpsuit that I'd bought in New York. I don't know if you know Rachel Comey as a brand. Um it was well, I'd seen it on this woman in New York, and she was just it was in this camera, like it was canoe. It was short sleeve, walm, zip all the way up, like super loose jumpsuit. Like none of this, like it was just like super really trampy. And I was like, I've got to go find Rachel Comey and I've got to go find myself a jumpsuit. Um, and I don't know if anyone's ever been on a job site um going to decide Danny and go decide daddy when the power's out. Anyway, so as a woman, you know when you pull your jumpsuit down, your your your bare chest down, basically make it and basically make it. Then you've got your masside dunny with no power, and so you've got to keep the door open a little bit so you can see the toilet seat.

Speaker:

And because you're in such a hurry to wee, you wee on the back of your jumpsuit, but you're in a real ice when you pull it up every year stolen.

Speaker 1:

It's a bit hilarious. I can my ears love mine. I'll felt so stylish.

Speaker 3:

I think you're like, did you wear it again? I had to wear it for the rest of the day. No, but I know, like, after that day, did you go like parking that one? No, tap it in the washing machine. So I think better be myself of feeling for a moment stylish and then um pulling it down, accidentally weighing on not realizing it until you've plugged it back up and zipped it up again. Don't we all feel better knowing that about some? I told you, right?

Speaker:

Maybe we'll need to feel a little bit more these ones we're gonna do. These ones with the collar and this is still a little bit damp. So didn't I like your phone dump tea?

Speaker 2:

Yes, we'll put that on YouTube.

Speaker 3:

Yeah. And don't you think that maybe somewhere and you've killed two birds with one stone? Because our next question was tell us something that not many people know about it.

Speaker 5:

Um sure that was it. Do you have something else?

Speaker 1:

Um, it should go.

Speaker:

I did have a story, but I honestly can't.

Speaker 1:

More than that?

Speaker 3:

Sure.

Speaker 1:

Yeah, it's actually a story that makes my hustle blush. And it takes a lot.

Speaker 3:

Let's keep him out of it. I think that if you've given you delivered, you've delivered with that great story, so we can't ask for much more than that. That I'm a camper. I didn't know that about you. And I didn't picture that either.

Speaker 5:

No, I'm I'm the opposite of a camper. It's not me.

Speaker 3:

And I used to be a flight attendant on private guests. Oh, I do know that about it. I'll start like it. People wouldn't though. Yeah. And you do a lot of skiing too, didn't Tom? And I was snowboarded strike down. Yes, that's another. But an interesting story when I worked on the Prime Fix or and a pandit, but um, one of my um passengers was Prince Edward. He was the the fun one, the Vaucus one. Prince Edward? The Prince Eddie? It sounds really impressive. I think it's Prince Edward. I'm sure it was Prince Edward. Anyways, go with that. Uh Prince. So yeah. Or Prince, that would have been that would have been better. So when and when they get on the security and so when we get on the plane, the security guard has to give you the bullets in a handkerchief. So they present their their their bullets, um, and then you take the bullets and he and that's who he is.

Speaker:

Um and uh the security guard had his um calls had his gun and he said, Um, you know is that joke? Is that a something around in your pocket or you're happy to see it? He says, That is a gun in my pocket. No, no, no, Chris Edwards said that is a gun in his heart, but he's very happy to see it. Anywho, that's my story. So private debt, campy, soccer, wing on my outfit. You book so we'll never forget that I saw that.

Speaker 3:

Oh, that was brilliant, thank you. Next up, show you the story that egg my hype and blush.

Speaker 4:

Yeah, we'll we'll do that privately.

Speaker 3:

With the mics. Um, hi, I just want to say thank you so much for everyone for joining us tonight. We're very chuffed to have been able to do this. A massive thank you to Living Edge and to Harry for agreeing to host us and to you, Samayan. That's been so fantastic to hear. Well, it does even do a podcast. Absolutely. Didn't tell me I'd have to do it in front of people. But it's anyway. Threw that in at the end. Just a little few of our quiz. It's fine. Uh well, thank you to everyone for coming out on a rainy evening and joining us very much to see. Thank you so much. So um, thank you guys for listening in. And just a quick reminder: if you would like some help with the interiors for your own home, I can help you in a course called the Style Studies Essentials.

Speaker 4:

Or um for designers out there, come into the Design Society for business and marketing and all of the things.

Speaker 5:

Yeah, and in the same show notes, you'll find a link to sign up for my soon-to-be-released uh furniture collections, pre-collected furniture collections, and cool trend information, and then in the future, some short courses on styling and trends as well.

Speaker 4:

So, good for we've got the utmost respect for the Wurundjeri people of the Kulin Nation.

Speaker 3:

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.

Speaker 4:

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.