{"id":5858,"date":"2017-03-03T17:37:57","date_gmt":"2017-03-03T17:37:57","guid":{"rendered":"http:\/\/www.heals.com\/blog\/?p=5858"},"modified":"2018-03-15T14:48:32","modified_gmt":"2018-03-15T14:48:32","slug":"russell-pinch-oona-bannon-interview","status":"publish","type":"post","link":"https:\/\/www.heals.com\/blog\/russell-pinch-oona-bannon-interview\/","title":{"rendered":"In the studio: Russell Pinch & Oona Bannon"},"content":{"rendered":"
\"heal's<\/a><\/h6>\n

PINCH us, we must be dreaming!<\/strong> At least that was our thought upon arriving at Russell Pinch and Oona Bannon\u2019s studio, workshop and showroom in sunny south London (Clapham North to be precise). For this is truly a furniture lovers paradise, packed full to the rafters with much loved and brand new PINCH<\/a><\/span> pieces many of which feature in our new Spring \/ Summer 17<\/a><\/span> collections.<\/p>\n

Not interested in mass-produced, volume-based business, Russell and Oona have a real love for furniture, the design process and overseeing every aspect of how a design translates into reality. Founding PINCH design studio in 2004, the couple are no strangers to Heal\u2019s, having previously won our Heal\u2019s Discovers Prize<\/a><\/span> all the way back in 2008 for their Yves desk<\/a><\/span>. Almost a decade on and we\u2019re celebrating yet another triumph with the launch of their new Wallis Sofa<\/a><\/span> alongside selected upholstery and furniture from their ever expanding collection.<\/p>\n

–<\/span><\/strong><\/h1>\n
<\/h6>\n

Take us back a few years to how PINCH all began.<\/strong><\/p>\n

Russell Pinch:<\/strong> I trained as a furniture designer at Ravensbourne College and then worked for Terence Conran for five years as a design assistant. After that, I headed up the product team for Conran, so there\u2019s obviously a big Conran link throughout my early career. I always refer to that period as the apprenticeship of a lifetime, because I was able to work completely cross-category on all kinds of products. I mean, it\u2019s a designers dream because someone\u2019s paying for you to design and fund the development of those pieces. So, from pens to watches to ceramics to different types of glassware to cutlery, furniture to upholstery to lighting. Despite it being fantastic, I left there to set up a branding agency, which is where Oona and I met. The agency became quite a big business very quickly, which we in turn sold to an advertising agency and that\u2019s when we decided to set up PINCH.<\/span><\/p>\n

Oona Bannon:<\/strong> At that time I was still working in the branding world, but then we both kind of got to point where we found it very trying. Working in branding people often asked you to make <\/span>this<\/span><\/i> look like <\/span>this<\/span><\/i> when it\u2019s not really that at all. So when Russell said \u201cI want to go back into furniture\u201d we really thought long and hard about how we wanted that shape of our business and our future to be. We knew we wanted it to be based on integrity and what people wanted from a piece of furniture.<\/span><\/p>\n

\"heal's<\/a><\/h6>\n

RP:<\/strong> That\u2019s so true, it was the absolute opposite of the world we were operating in. I remember saying \u201cdo you know what would be really nice? Just to make a dining table for a real person. For a real person that loves their dining table and actually eats at that dining table. In the branding world, you refer to customers as consumers. They\u2019re not real people, just numbers who spend money in your stores. I hate all of that! <\/span>So PINCH was kind of a reaction to that fake world. I mean it works, we know that capitalist consumerism relies on that, but there is also a place for having some integrity and designing pieces that are well made, carefully sourced, using fantastic materials and then sold in a way that you\u2019re passionate about. That\u2019s why it\u2019s so important for us to work closely with Heal\u2019s as we want everyone to feel as passionate about PINCH design as we do.<\/p>\n

OB:<\/strong> I think the other thing about our designs, which is a terrible business model but actually feels right, is that we’re kind of anti-obsolete. We want people to buy a dining table from us in the knowledge that they\u2019re not necessarily going to need to buy another dining table for a number of years. That\u2019s kind of a counter-consumerist concept and means there won\u2019t be a yacht at the end of the horizon, but that\u2019s absolutely fine with us.<\/span><\/p>\n

Was it hard going the first few years of setting up the studio?<\/strong><\/p>\n

OB:<\/strong> So we started PINCH in 2004 and have kind of grown organically. It was really natural and really simple because, whilst we aren\u2019t na\u00efve about how business works, we were very clear that we didn\u2019t want this to be based on loans from the bank that will put lots of pressure on us to deliver a certain margin. We were realistic as to how we could grow the business organically and didn\u2019t want a mega brand immediately. The success of one thing takes us to each new stage, so we were actually able to start with a completely blank sheet. We ran it from home for 5 years, which was lovely in that we had our children to look after. It really was quite idyllic, especially coming from that money driven, branding world.<\/span><\/p>\n

RP:<\/strong> It is, it is. You notice things like being able to go for a walk first thing in the morning, see the sky, see trees! It sounds ridiculous, but basically making sure you’re having a life as well as work. At the beginning, we also spent a lot of time defining what we wanted the business to be about.<\/span><\/p>\n

OB:<\/strong> Writing your own briefs was a big one wasn\u2019t it?<\/span><\/p>\n

RP:<\/strong> Yeah it was wasn\u2019t it!<\/span><\/p>\n

\"heal's<\/a><\/h6>\n

OB:<\/strong> Which is such a departure now in terms of having worked on a Heal\u2019s brief! (laughs) But it\u2019s great that we have arrived at a point where people actually want to buy into how we design rather than dictate to us. Whereas in our previous professional lives there was this sense of \u201coh god we have to make that terrible thing look like it’s real food!\u201d we know that everything we design now is <\/span>our<\/span><\/i> vision.<\/span><\/p>\n

RP:<\/strong> It\u2019s driven by creative need or creative expression and there are absolutely pieces within our collection that have become the \u201chero products\u201d because they were born out of creative need rather than a commercial one.<\/span><\/p>\n

When did you move into your current studio space?<\/strong><\/p>\n

OB:<\/strong> It was December 2010, so seven years ago now. I remember first opening doors and it was completely covered in pigeon poo. It was in a real state!<\/span><\/p>\n

RP:<\/strong> Yeah it was totally derelict with a broken-up floor. So we cleaned it up and then when next door became available we knocked a hole through the wall into there. Then when the studio across the hall became available we knocked another hole at the top to build the mezzanine linking the two spaces. Basically what happened was, we had a new member of staff and there wasn\u2019t anywhere for her to sit so we had to build the whole of this for like one more member.\u00a0<\/span><\/p>\n

OB:<\/strong> Back in the day the whole space used to be open, so these walls didn\u2019t even exist. It was a train shed so you can still see the tracks running through the middle.<\/span><\/p>\n

Coming to your studio, it\u2019s surprising just how much of the designing actually goes on here.<\/strong><\/p>\n

RP:<\/strong> One of our strengths is that we like to be involved in loads of aspects of the business. It means you can get your hands dirty, from the model making to styling photo shoots.<\/span><\/p>\n

OB:<\/strong> It\u2019s a tiny team. So we have two design assistants as well as an intern, who\u2019s just broken his arm, and then we also have three sales staff, two finance staff who are part-time. So in total, we have 10. Because it\u2019s a small team there\u2019s more exposure for each project. It\u2019s a very rare thing that a product hasn\u2019t had everyone to chip in to some degree or level, which is great because as a business it means everyone has an opinion.<\/span><\/p>\n

\"heal's<\/a><\/h6>\n

On that point of design development, how does a PINCH piece start its life?<\/strong><\/p>\n

RP:<\/strong> We work very well together, so often Oona will say she envisages something vague like part a particular fashion design mixed in with an artist and also a bit of a building that we saw on the side of a road, and I will know pretty closely what Oona is describing. There\u2019s always going to be a margin of error – so someone says \u201cI think it should be green\u201d and you go \u201cyeah it should be green\u201d and then you\u2019re thinking of a completely different colour – but we both have this thing where I understand what Oona is saying and we play it back off each other. In a way, that 10% of the unknown feels like the most exciting bit because that\u2019s where Oona will go \u201cooh I didn\u2019t quite mean it like that, but that\u2019s interesting\u201d or the flipside where I go \u201coh I didn\u2019t think you meant that colour!\u201d<\/span><\/p>\n

OB:<\/strong> The \u201cbrief,\u201d as it were, starts with a conversation, and then your sketch is done quite quickly because you don\u2019t like sketching much do you?<\/span><\/p>\n

RP:<\/strong> No it\u2019s the weakest thing I do in terms of bringing the design to life.<\/span><\/p>\n

That\u2019s really interesting because when you look at something like the Wallis, it\u2019s all flowing lines and curves so one would immediately imagine that comes from a sketch<\/strong><\/p>\n

RP:<\/strong> It would of definitely have started with a sketch of some sort, but that would have been so rough that it doesn\u2019t mean anything to anybody apart from me in my\u00a0head. Then it\u2019s between me Tom and Mike to start modelling things – whittling bits of wood, sanding corners, ripping them off and then sticking them back on. It\u2019s a constant dialogue between Oona and I. It never gets right to end and we think \u201coh no Oona!\u201d<\/span><\/p>\n

OB:<\/strong> I think also that transition from 2D to 3D is huge, so much can change. We\u2019re both quite impatient and want to express what we are thinking of quite quickly, so model making is a complete fast track. We have 14 different manufacturers that make for us, so even if you do the best drawing in the world if they can\u2019t get to grips with it\u2019s worthless. But when you\u2019re model making there\u2019s nowhere to hide. There\u2019s a lot of finessing isn\u2019t there, because then we go into the real territory of taking a millimetre off here, taking one off there. I like a millimetres difference, don\u2019t I?<\/span><\/p>\n

RP:<\/strong> Oh god you do!<\/span><\/p>\n

\"heal's<\/a><\/h6>\n

How many prototypes were there say for the Wallis?<\/strong><\/p>\n

RP:<\/strong> Well that\u2019s slightly different because it\u2019s the only piece that we don\u2019t make full size before we go into production, so all the other pieces, well not all of them but a lot of them, we attempt to make a full-size model in our tiny workshop. It\u2019s only things like card, wood and a real combination of materials, nothing pretty but we all know what we\u2019re looking at and again there are no surprises when you get your first prototype. So for the Wallis, we couldn\u2019t make the piece but we did a full-size drawing, which is the next best thing. It\u2019s a massive piece of paper with a full-size drawing of the sofa and the reason for that is you can pin it up against the wall and get a better idea of the silhouette.<\/span><\/p>\n

There’s definitely a PINCH signature style, but could either of you pinpoint your main influences or design heroes?<\/strong><\/p>\n

RP:<\/strong> The good thing about our style is that everybody sees it in a different light. To some people, it\u2019s very Scandinavian and then others will say it\u2019s British, very classical or very contemporary etcetera, etcetera. I think the strength is that despite that eclecticism our designs always manage to hold onto that PINCH handwriting.<\/span><\/p>\n

OB:<\/strong> Regarding influences, it likewise varies from piece to piece. There\u2019s some Flemish style, then there\u2019s Georgian panelling and then there\u2019s mid-century inlay, so it\u2019s is a bit mad. I also think it is true to say that it all comes back to one main focal point and that is strong shape, texture and craft.\u00a0So many of us go to the high street to buy whatever and we just buy it for immediate need. I mean why would you consider the resources that have gone into a piece from cutting the timber to the oxygen needed just to grow the trees. We know we\u2019re in the business of putting more stuff into the world and using up resources by doing so, but we should do it a bit more respectfully and honestly.<\/span><\/p>\n

RP:<\/strong> Whether it\u2019s in our studio or in Heal\u2019s stores, I hope it does come across that every element of this furniture has been made with passion and really from the heart. There\u2019s nothing that doesn\u2019t really matter. It\u2019s the same with our whole team, everyone who works with us. There\u2019s a real commitment to making sure that this stuff is made really well, it\u2019s not because they just won\u2019t get paid it\u2019s because, like us, they want it to be perfect.<\/span><\/p>\n

OB:<\/strong> Our manufacturers love making our stuff. We get Christmas cards from them and they are so delighted that they are making such classically crafted furniture.<\/span><\/p>\n

RP:<\/strong> We do get quite a lot of feedback, and it\u2019s really interesting that people bother to take the time. A lady who bought a cabinet from us wrote to recently saying \u201cthe best thing is I walk down the stairs every morning and it just makes me smile.\u201d That is just some of the best feedback. It\u2019s like what a wonderful thing for someone to tell you that basically, they felt the piece was uplifting.<\/span><\/p>\n

\"heal's<\/a><\/h6>\n

You mentioned some of the suppliers you work with. Could you tell us a bit more about how the different elements of a PINCH piece are made?<\/strong><\/p>\n

RP:<\/strong> We have 14 suppliers in total and they all have very different skill sets. Even in the cabinet making shops, we have some who are good with solid wood and some who are good with painted lacquer. There are woodworkers who are solely specialists at\u00a0turning wood, nothing else, and then you have people who are particularly good at volume. The hardest part of our job is getting the design made to the quality that we need it and the price that we need. It comes back to what Oona was talking about earlier about needing layers of interest in a piece. I think some of that is achieved by not taking the easy option and building that through different skills and crafts.<\/span><\/p>\n

OB:<\/strong> I think that\u2019s what makes the difference, if we were purely a business we wouldn\u2019t do that.<\/span><\/p>\n

We\u2019ve touched on the Wallis, but I wonder how does it feel to see the Yves Desk back at Heal\u2019s after won the Heal\u2019s Discovers prize way back in 2008?<\/strong><\/p>\n

OB:<\/strong> When it was all happening in 2008, the business felt quite young and the ambitions for the business were still sort of forming. It\u2019s so important you have external forces saying you\u2019re doing well and you\u2019re not just a pair of nutters. It was an acknowledgement that we needed early on in the business to know that we were heading in the right direction. It\u2019s a piece that\u2019s definitely continued to have relevance for us and will be a future heirloom for whoever takes it home.<\/span><\/p>\n

Following on from Heal\u2019s Discovers, what words of advice would you give to any designers starting out now?<\/strong><\/p>\n

OB:<\/strong> Stick to your guns!<\/span><\/p>\n

RP:<\/strong> Yeah that is the most important thing.<\/span><\/p>\n

OB:<\/strong> Also work closely with your makers because the product is just as much about how it\u2019s made.<\/span><\/p>\n

RP:<\/strong> It\u2019s a partnership. The designer is not <\/span>the<\/span><\/i> designer, you know? They are just one part of the whole thing coming together. You must also create your own style. I mean it\u2019s hard, none of it is easy and even when you have the most amazing designer in the world it can be really hard to get noticed and all the rest of it. But if you are really really good it will work.<\/span><\/p>\n

\"heal's<\/a><\/h6>\n

Shop the full PINCH<\/a><\/span> range and our new Spring \/ Summer 17<\/a><\/span> collections at Heal’s online or in store.<\/p>\n","protected":false},"excerpt":{"rendered":"

PINCH us, we must be dreaming! At least that was our thought upon arriving at Russell Pinch and Oona Bannon\u2019s studio, workshop and showroom in sunny south London (Clapham North to be precise). For this is truly a furniture lovers paradise, packed full to the rafters with much loved and brand new PINCH pieces many […]<\/p>\n","protected":false},"author":1,"featured_media":5891,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[57],"tags":[],"class_list":["post-5858","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ideas"],"yoast_head":"\nIn the studio: Russell Pinch & Oona Bannon interview<\/title>\n<meta name=\"description\" content=\"PINCH us, we must be dreaming! 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