Next up on our roster of Heal’s Discovers 2014 finalists, we have a design duo: Phil Luscombe and Josh South. We’re glad they didn’t take up their initial intended careers in Gardening and the Military…
Phil Luscombe and Josh South met while studying for their degrees in Three Dimensional Design, Furniture and Product at Northumbria University. Having both grown up around builders and engineers, they found they had a fair amount of common ground and decided to collaborate and set up their own design studio.
Phil is currently undertaking a PhD – a study of good workmanship and the process of making – while Josh is part of Northumbria University’s Designer in Residence programme.
The duo’s Heal’s Discovers project is their first ‘proper’ project together, one they describe as being ‘a joy we can’t wait to start another.'
Going right in with a big question, how would you describe good design? What do you think it should achieve?
That is a big question! Stand back... We like to make a distinction between ideas and things. When you look at the best objects, like a Gothic cathedral or a Hans Wegner chair, it’s clear that they are not the result of ideas that jumped fully formed into a designer’s mind and were then simply realised in the material world.
They are things that have emerged from a rich engagement, or correspondence, with the world of materials. For example, Gothic cathedrals are not the realisation of a tightly specified architect’s plan, they are the consequence of thousands of skilled masons, working over centuries with just rough templates and shared principles, each one making their contribution to a cathedral’s thingliness.
Today, in the culture of ‘big ideas’, you just cannot come close to generating the life that naturally emerged through these traditional processes. We think contemporary design can only be ‘good’ by working step-by-step, testing things in real life, and without too much in the way of ideas clouding the process.
Which Heal’s designer – from any era - inspires you and why?
Lucian Ercolani, for his work in the Fifties. He knew what he was doing.
Where in the world have you been inspired?
We once went for fish, chips and mushy peas at the seaside (Tynemouth, near Newcastle) and ate them on a bench at night. Whilst we wouldn’t usually go on about it, a clear night’s sky, a big moon and the reflection in the sea is a pretty inspirational sight. Half a beer in, Josh was going on about how small he felt!
Finally, and this doesn’t have to be design related, what are your three favourite things?
Fish, Chips and Mushy Peas.
[ INSPIRATION ]
Behind the design
It’s time to introduce you to the second of our talented Heal’s Discovers finalists, Sam Lloyd. We caught up with him between his time working away in the studio and his other passion, scuba diving.
Sam Lloyd has, in his own words ‘always had an interest in making things.’ When he was younger he used to go to work with his dad, an architect and site manager, because he liked learning about the process of building construction.
After coming to the conclusion that he wanted to be a product designer, Sam completed an Art & Design BTEC at Reigate College before going on to read for a BA (Hons) in Product & Furniture Design at Kingston University.
During his studies he worked on live briefs, including one with New Balance for the 2012 Olympics. Since graduating he has been shortlisted for an award at New Designers 2013 and featured as one of Icon Magazine’s ‘Graduates 2013’ review.
Going right in with a big question, how would you describe good design?
Things that are simple, well made and long-lasting. Nothing should really be without meaning and there should be something original about the function or aesthetic of a product / piece of furniture.
Which Heal’s designer – from any era - inspires you and why?
I like the way that Tom Dixon works with materials and processes. His interest and understanding of materiality can be seen in his products, and I also think its great how his brand is trying to bring more manufacturing back into the UK.
Where in the world have you been inspired?
It’s not really design related, but I was lucky enough to go to the Maldives in February. The quality of the marine life was out of this world and it was really inspiring to know that there are still places in the world where people can experience places like it.
Finally, and this doesn’t have to be design related, what are your three favourite things, and why?
At the moment I would say… …my GoPro Hero 3 camera – I’ve taken so many pictures and videos with it, both travelling and with my work. …the sea, as most of my hobbies involve being either on or under it – I’m an avid scuba diver and exploring underwater is an amazing experience. …and the final one would have to be music, it is the best motivator and I can’t work without having some on in the background.
After much deliberation by judging panel, we finally agreed on the four designs that will form the Heal’s Discovers collection for 2014. We’re not revealing the pieces just yet, but we can introduce you to the designers behind the products.
First up, Ester Comunello, who grew up playing with the tools in her family’s wood carving workshop in rural Brazil. With a firm grip on these (and foreign languages, which were her first degree) she’s forging ahead in her design career…
Born in Treze Tílias, Brazil, Ester moved to the UK in 2004. She first studied Contemporary Furniture and Product design at Bucks New University, before joining the university’s MA programme, which she completed in January 2014.
Throughout her studies Ester worked on projects with companies including Ercol, Isokon, Corian, Gloster, Lago and All Lovely Stuff, and in 2012 she was a runner up at the Student Furniture Designer of the Year Award.
Going right in with a big question, how would you describe good design?
Good design is thoughtful design. It embodies well-considered materials and production processes, but also objects that fulfil their purpose, both functionally and emotionally.
Which Heal’s designer – from any era - inspires you and why?
Alex Hellum. His practical approach to design and honest use of materials make for timeless objects.
Where in the world have you been inspired?
Anything can trigger inspiration, but I feel particularly drawn to craft techniques and cultural aspects of Nordic countries; they feel exotic and fascinating to me.
Finally, and this doesn’t have to be design related, what are your three favourite things, and why?
My work, my family and my dog are the main driving forces in my life. They all entail a great deal of passion and commitment!
Heritage architectural details, picked out in deeply sophisticated primary hues... Daniel Heath’s collection for our Limited Edition designer cushion range have a tactile and timeless hand-drawn quality.
We made Daniel step away from the printing press, and clean the ink off his hands, to answer a few questions about his work…
Tell us about your design process Daniel… how do you get started?
I always begin each design idea with a theme and a narrative that will inspire the work. For the Heal’s collection I found myself cycling around London, looking at the striking Art Deco architecture that would sometimes be sitting relatively unnoticed above betting shops and pound shops.
I enjoy making historical references in my work as it allows me to learn whilst developing my imagery. When I’m gathering my research I’ll make a lot of notes and sketches along the way, figuring out how to translate what I’m looking at into something new.
How did you get involved with Heal’s Limited Editions?
I got involved with Heal’s through exhibiting at Tent London during London Design Week in 2013. I think that what I do aligns quite well with Heal’s ethos and also its history in supporting British design and manufacture.
Much of my work is bespoke, but because I make everything at my studio myself, I am able to sample new ideas and manufacture limited edition products myself. It’s part of the story. I print all of the cushion fronts myself in my studio, which is only a few miles from Heal’s on Tottenham Court Road.
I suppose the first textile I designed would have been at school in Eastbourne. I remember meticulously cutting out stencils depicting bottles and bunches of grapes ready to print onto a table cloth.
Everyone has very personal reaction to colour. Are there any colours you instinctively avoid?
I think colour just requires context. When I’m using colour in a design then it is important to try to balance it with another colour. When I am designing something, or printing a bespoke piece, then it is interesting to think about what else goes in that room.
I often balance bright or strong colours with materials that have a natural tactile quality, which is why I have enjoyed working with linen.
Do you have a design hero that influences your work?
I’m sure that I’m not alone in saying that my design hero is William Morris, but he was so much more than a designer. Morris had conviction about his product ethos and was powerful in driving forward his ideology, standing against the grain set by society at the time.
He pioneered the development of natural dyes, supported and promoted the use of craft skills and was an ardent campaigner for social change. My wife and I have recently moved to Walthamstow and have visited the William Morris Museum a good few times – it’s well worth a look.
Do you have any studio superstitions/ design quirks?
I have BBC 6 Music on all the time in my studio; it serves as my clock. Arrive at the studio and get started with Shaun Keaveny. When Lauren Laverne is on I should be working at full pace. When Radcliffe and Maconie come on then I should think about grabbing some lunch.
When Steve Lamacq comes on at 4pm, I hope I’m well under way and if I need to cycle anywhere to pick anything up, I’d better get a move on. When Marc Riley comes on at 7pm, I’ve either got to think about going home, or consider pulling a late night in the studio.
Finally, what three words would you use to describe your Limited Edition collection for Heal’s?
Modern Deco Opulence.
Previous Heal’s Discovers participants have had to work to a structured theme or brief – for instance, last year’s was all about Sustainability.
This year though, we decided not to send out a specified brief; we wanted to organically find a design or product that could be adapted to become a Heal’s product, without constraining the designers’ creativity.
The design did not have to be finalised and it didn’t need to be production-ready. It did, however, need to display a few core principals:
Innovation – whether in its design or the making process
An honest material process
The potential to be developed into a useful and commercial product Heal’s customers would want in their homes.
While visiting the three universities we’d selected to work with, I met as many of the designers as I could to discuss the projects they wanted to present to Heal’s. This gave me a clear idea of their products, vision and the process behind the product (you can read more about these visits in my last blog).
Without these conversations we couldn’t truly understand and appreciate the work. The presentations brought the ideas to life. As we weren’t limiting our shortlist to undergrads – designers who had graduated from our the chosen universities in the past three years were also eligible – several of the designers weren’t available to meet on campus.
These graduates had dispersed across the UK to work within creative industries, so they came to visit me on my home turf; the Heal’s Hub at our Tottenham Court Road flagship. It was fantastic to see such talented, engaging and enthusiastic designers who are all just starting their careers.
I was amazed at the breadth and diversity of designs I saw, which only made the next stage (making the final selection of designs) that much harder. Regardless of whether they made the final cut, I’m sure that all of the designers who made it to this stage will continue on to great things.
Back to the decision making… This was no easy task. First things first, tea and biscuits were needed. Lots of them. The first stage was to make sure that all the boxes were ticked:
Did the product fit in with the existing Heal’s collections?
Did it use our skilled manufacture base efficiently?
Can we get the product made in time for launch, which will be at this year’s London Design Festival?
Would the buying price be realistic?
Did the design have the WOW factor that’s the mark of Heal’s Discovers?
I got the list down to my Top 9, and then called in the reinforcements: the product experts on the buying team and the customer-focused viewpoint provided by our PR and Marketing team.
Their initial reactions to each design, coupled with their knowledge of our supplier base’s capabilities, were key to the final decision. After much deliberation we finally selected our final four designs. All that was needed now was the stamp of approval from our Creative Director, Carmel Allen, and Chairman, Will Hobhouse.
From here, it was onto the next exciting stage: working closely with the designers to develop their product to bring it to market. More of that on my next update…
Photo: Robert Greshoff greshoff.co.uk
Painterly, abstract and textural, Maxine Sutton’s designs bring a soft, playful feel to Heal’s Limited Edition cushion collection. We convinced the artist-turned-designer to take a tea break in her Margate studio, and chat to us about her work.
Tell us about your design process Maxine… how do you get started?
Day to day I do different things; I look, draw and doodle, take photos and collect clippings of images and sometimes colours and text. When I start a new body of work I take these collections of ideas, and bits of things in sketchbooks to the studio. Sometimes I’ll just begin with collage or watercolour and ink drawings.
I am not trained as a designer, my first degree is in Fine Art. Often my designed products evolve from the artworks I make where I am not constrained by the end use. I design mostly through making: get on the print table, start mixing colours and printing, then work between the print process and embroidery.
Talking about colour, everyone has very personal reaction to it. Are there any colours you instinctively avoid?
I struggle with purples and lavenders but, I never say never! I think it’s important to challenge your own habits and instincts sometimes, so who knows? Maybe one day I'll go through a purple phase…
Do you have a design hero that influences your work?
I look at a variety of sources for inspiration – it’s often paintings and fine art that move me. I love William Scott's paintings and Kiki Smith’s drawings and prints, but really my influences change all the time. For instance, I loved the interiors in Wes Anderson’s Grand Budapest Hotel .
Are there any studio superstitions/ design quirks that you’re happy to share with us?
I am quite superstitious, but I can't think of any examples right now!
Tell us about the first textile you designed…
When I graduated, I sold some of my fine art prints as textile designs - painterly abstracts were on trend for fashion in the mid-80s. But technically my first textile was after art school; I was working in the West End as a stage hand, and I hand printed and sewed skateboard shorts with an abstract potato print, and sold them from a market stall.
The designs were quite influenced by Body Map and Keith Haring, and I’m sure the print was very crude. My boyfriend and I wore them when we went skating under the Southbank!
So how did you come to get involved with Heal’s Limited Editions?
I met Michelle Alger and Pia Benham a year or so ago when they visited my shop and studio space in Margate. Then, when I was showing at TENT London I met Caroline Dulko, and while we were chatting we discussed a Limited Edition range for Heal’s.
It was really exciting for me, as I'd rather work on small-batch collections, keeping the making and production in house or close by. I think Heal’s really understands craftspeople, and it’s so good to work with a company that champion hand-making and traditional / contemporary craft skills.
Finally, what three words would you use to describe your Limited Edition collection for Heal’s?
Tactile, Tasty (colour combinations), Tickled (pink)! (I hope the colour, print and tactile qualities give off a happy vibe, tickled is a good word for happy…)
We think that’s cheating Maxine, but we’ll let it go!
HEAL'S DISCOVERS
HEAL'S DISCOVERS
Ed Heritage
As part of this season’s Heal’s Discovers initiative, we’re delighted to introduce Ed Heritage, an award-winning UK-based designer whose signature style of clean geometry and playful details is reflected in the beautiful lamp he created.
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