Brodie Neill is a Tasmanian-born but London-based furniture designer, who has made a name for himself by creating pieces from waste and reclaimed materials. In 2016, for example, he represented Australia at the inaugural London Design Biennale with his exhibition entitled, Plastic Effects. In it, he showcased the Gyro Table, with a top made of fragments of recycled ocean plastic that had been salvaged from beaches in places like Hawaii and Cornwall.  

Over the years, his furniture pieces have been made from dowels, reclaimed school floors, and wood found in some extraordinary places. He has also collaborated with brands such as Microsoft, Mercedes-Benz and Alexander McQueen, while his limited edition works feature in museums and galleries around the globe.  

In this episode, we talk about: why he found himself in the Antarctic earlier this year; sharing a ship with over 30 scientists; the new work that is emerging from the 'adventure of a lifetime'; how finding plastic on a Tasmanian beach proved a pivotal moment in his career; creating the iconic Gyro Table; how he collects ocean plastic; creating high end products from ‘underwater’ wood and old school floors; unleashing ‘material potential’; inheriting his grandfather’s tools; day dreaming at school; and why he needs to be near making. 

And remember the inaugural Assemble with Material Matters takes place on 20 November at the Bank of England Conference Centre. Tickets cost £175 (+ VAT) and are officially available until 6 November. To secure your place click here

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James Fox wears a couple of hats. He is director of studies in History of Art at Emmanuel College, Cambridge and creative director of the Hugo Burge Foundation. 

As well as that he is a BAFTA-nominated broadcaster and an author with a brand new book out. Craftland: A Journey Through Britain's Lost Arts & Vanishing Trades is his journey through Britain to discover the craftspeople that literally make this island. En route he meets dry stone wallers, a rush weaver, a thatcher, a letter cutter and a watchmaker to name just a few. 

The book illustrates what we once had and what we could be in danger of losing, while also highlighting the importance of hand skill and materiality in a digital age. 

In this episode we talk about: why ‘craft’ remains a contentious word; craft as both a contemporary invention and an approach to life; the relationship between hand making and digital culture; how Fox discovered art as a child; bridging the divide between fine art and craft; the field’s ‘inherent diversity’; what the state could do to help makers; crafts potential role in the transition to Net Zero; why Craftland is ‘nostalgic for the present’; the importance of tacit knowledge; and why the future of making in Britain is bright. 

You can purchase a copy of Craftland here. 

The full programme for Assemble with Material Matters, our new one-day conference held at the Bank of England Conference Centre on 20 November, is available here.

And you can secure your place at the conference here.

If you love the podcast, you’ll adore the conference.

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Tim Minshall is an expert in manufacturing and innovation. He is the inaugural Dr John C Taylor professor of innovation at the University of Cambridge, the head of the Engineering Department’s Institute for Manufacturing and a fellow of Churchill College.

Importantly too, he has published a new book. Your Life is Manufactured: How we make things, why it matters and how we can do it better does exactly what it says on the front cover, working as a primer for our complex global manufacturing system and illustrating how we make, move, and consume the materials we extract, grow, or create.

In this episode we discuss: different nations' attitude to manufacturing; Covid’s effect on global supply chains; how he treated a hospital like a factory during the pandemic; tariffs; lettuces; why reducing waste has led to fragility in our global system; manufacturing and trade-offs; the effect war has on innovation; not being a fan of GDP; the history of the shipping container; material change and the kettle; silicon and the digital revolution; creating too much data and AI; making things more sustainably; green hushing; and saving the planet through manufacturing. 

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Natsai Audrey Chieza is a designer who has built an extraordinary career by working with bacteria. She grew up in Zimbabwe, before moving to the UK at the age of 17 and training as an architect at Edinburgh University. Subsequently though, she changed tack and completed her MA on the Material Futures course at London’s Central Saint Martins. 

Now through her experimental studio, Faber Futures, she operates between biology, design and our wider society, working, for instance, with microorganisms to find new, ecologically-sound, processes for dying our clothes. 

As one magazine put it: ‘For Chieza, designing with biology presents unique opportunities to address significant ecological challenges, squaring the circle of sustainable production and finite resources.’ 

Her work has been exhibited in places such as the V&A, the London Design Museum, and the Bauhaus Dessau Foundation. She also has a wildly successful TED talk under her belt. More recently she has set up a multi-media storytelling platform with Ginkgo Bioworks, entitled Ferment TV, looking at the future of synthetic biology, Covid 19, Black Lives Matter and an array of other issues.

In this episode we discuss: growing up in Zimbabwe; racism in the design world; changing the way we consume; learning to work with bacteria; and why our future is biological. It’s kind of eclectic but hugely important.

Discover more about Natsai here.

And you can find out more about me and sign up to my newsletter here.

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Julia Lohmann is a German-born designer who first came to prominence after graduating from the Royal College of Art in 2004 with a chandelier fashioned from 50 preserved sheep stomachs. She followed that up with a stool made by casting the inside of a dead calf and, perhaps most famously, with her Cow Bench – essentially a sculpture of a cow’s body covered, anatomically correctly, with an entire hide. Both beautiful and a bit disturbing, the pieces were created as provocations, to make us consider the provenance of the stuff we wear and sit on everyday. 

However, more recently, she has become known for her research into kelp. In 2013, Julia set up the Department of Seaweed during a six-month residency at London’s V&A, which allowed her to start exploring the potential of this extraordinary material and she has been working with it ever since. 

In this episode we discuss: how she came across kelp in the first instance; inventing her own form of craft; the future role of museums; the importance of dissonance in her work; doing a guerrilla exhibition at Tate Modern with maggots; and falling out (briefly) with one of the greats of contemporary design. 

Julia is currently professor of contemporary design at Aalto University in Finland, and directs her eponymous design practice from Helsinki, so this interview was conducted over the internet.

You can find out more about Julia’s work at: julialohmann.co.uk 

And for more about me go to: grantondesign.com

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Esna Su is an artist and jewellery designer, who was brought up in Turkey, near the Syrian border, before arriving in London in 2003. 

Since graduating from Central Saint Martins in 2015, she has developed a reputation for her extraordinary pieces that attempt to highlight the plight of refugees. Her wearable sculptures curve and bulge around the body, using traditional Turkish techniques of hasir, twining, needlework and crochet, as well as materials such as leather, cotton and paper rush.

In her collection entitled The Burden I, for example, knitted vegetable tanned leather cord is moulded around some of her most cherished objects, leaving hollow shapes that in the artist’s words ‘contain memories and the loss of the past’. 

It is stunning, deeply moving work that combines craft with protest and a deep-seated sense of empathy. As one writer put it: ‘Su actively seeks out both the horror and the beauty in her own cultural history as a way of unpicking contemporary issues surrounding cultural identities.’

In this episode, we talk about growing up in Turkey and the culture shock of coming to London; how the Syrian war has changed her home city of Antioch; why her mother didn’t want her to weave; the importance of memory in her pieces; and how making helped her recover from the death of her brother. 

It’s a delicate, and often, really quite touching interview. 

To find out more about Esna and her work: www.esnasu.co.uk

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Dominic Wilcox is a London-based designer, artist and inventor. I first came across his work in 2002 when he created The War Bowl, in which he melted down plastic toy soldiers from a particular battle and turned them into, well, a bowl. Since then he has gone onto to create a singular space in the design world, with witty creations and drawings that are a combination of David Shrigley and Heath Robinson, with a dash of Vic and Bob thrown in to boot. 

In Wilcox’s hands your shoes can tell you where to go, a crane comes out of a hat on top of your head and serves you breakfast, while your car is made of stained glass. Oh, and there are art exhibitions designed specifically for dogs. 

But this isn’t whimsy. There is logic behind everything he does and a desire to turn the normal things around us into something interesting and surprising. To make life just a little bit better. 

More recently, he has been turning his attention to schools, through the Little Inventors Project, which encourages children to use their creativity and come up with new ideas of their own. And this year he has published two books, Little Inventors go Green and Little Inventors in Space.

In this episode he discusses the importance of creativity; how he comes up with his ideas; presenting at the United Nations; his fear of failure; and how he could have been an athletics champion.

To find out more about Dominic's work: dominicwilcox.com

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The final episode of this special ‘lockdown’ series of Material Matters features Alexis Peskine. I came across the Paris-based artist’s work at last year’s 1-54 Contemporary African Art Fair at London’s Somerset House and described it in a subsequent Instagram post as ‘breathtaking’. 

Rather than using canvas, Peskine takes an earth and coffee-stained timber base. And instead of paint, he hammers nails at different heights, which are often tipped with gold leaf to form the features of a face. The resulting portraits of black subjects – or Power Figures – are large scale and immensely detailed while being both beautiful and haunting at the same time. They also possess a wonderful sense of topography. 

The work talks about race, migration, deportation, with recent pieces paying tribute to migrants undertaking dangerous boat journeys from North Africa to Europe. It is utterly extraordinary.

We talk about what the nails represent and his intricate process; his eclectic family background; why his talent for basketball took him to the US; and how black American culture effected his life. Perhaps most importantly we discuss the black experience and the blight of racism. ‘You make art about what touches you,’ he explains. ‘There are so many injustices to correct. It’s going to be a life struggle.’ 

You can find out more about Alexis’ work here: www.octobergallery.co.uk

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In the fifth ‘lockdown special’ of Material Matters, I speak to the brilliant Lin Cheung. Lin is one of the world’s most intriguing jewellery designers, her output vacillating between installation pieces, work that contains political and social commentary, as well as high profile commissions, including the medals for the 2012 Paralympic Games in London. 

She picked up an Arts Foundation Award in 2001 and a Jerwood Contemporary Makers Award in 2008. In 2017 she was shortlisted for the Woman’s Hour Craft Prize, while in 2018 she won the prestigious Francoise van den Bosch Award. She is also a teacher on the jewellery course at Central Saint Martins. 

As one critic said: ‘Lin’s work is a commentary on the human condition, a conveyer of the maker’s thoughts and feelings, a constant exploration into the meanings of jewellery.’

Over the years she has worked in a range of materials but, at least to begin with, we chat about her most recent collections, which have been made from stone.

During our interview Lin also touches on why jewellery matters and how it has the ability to comment on our hopes, beliefs and dreams; the background to her series of stone badges, entitled Delayed Reactions; the joy she finds in carving; and the relationship between ideas and materials. It’s delicate and rather lyrical stuff. 

You can find out more about Lin’s work here: www.lincheung.co.uk

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The fourth ‘lockdown special’ episode of Material Matters features the excellent Fernando Laposse. The up-and-coming designer has made his name in recent years with his colourfully beautiful veneer, Totomoxtle, which is made from the husks of Mexican corn grown in the tiny village of Tonahuixtla. 

The product was included in last year’s exhibition Food: Bigger than the Plate at the Victoria and Albert Museum, as well as being shortlisted for the London Design Museum’s Beazley Designs of the Year in 2018.

In this episode the Paris-born but Mexican-bred designer talks about the background of this deeply personal project, which involves macro-economics (and Mexico’s controversial free trade agreement with the US and Canada); agricultural heritage; global food culture; old family friends and childhood summer holidays; as well as craft and, of course, corn. 

Importantly it illustrates how design thinking can genuinely make a difference to an entire community, showing that traditional techniques and ways of living can still thrive in the globalised economy. 

As Fernando says his work ‘is preoccupied with sustainability, the loss of biodiversity, community disenfranchisement and the politics of food’. It's fascinating stuff.

You can find out more about Fernando and his work here: www.fernandolaposse.com

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The third 'lockdown special' of Material Matters features the radical knitter Freddie Robins. 

The common perception of knitting is that it’s a gentle, mindful activity. A thing you can do quietly in front of the television to relax after a hard day. Well Robins’ work is the antithesis of all that. It’s frequently dark, and always provocative. Her subject matter encompasses death, loss, religion, depression and challenges the perceived hierarchy of the art and craft worlds. It is work meant for the gallery rather than to be worn at home and comes with titles such as ‘Bad Mother’ and ‘I’m so Bloody Sad’. Kaffe Fassett she ain’t.

In this episode we discuss: the pivotal role her Godmother played in her childhood fascination with textiles; her loathing of conformity and the ‘danger of being ridden over by mediocrity’; her spell working in the fashion world; exploring the dark side through her work; having her pieces vandalised; and why knitting shouldn’t always be good for you. Not only that but we also chat about her appearance on Grand Designs with Kevin McCloud. So something for everybody I think. 

You can find out more about Freddie’s here: freddierobins.com

NB: Like all our lockdown episodes this has been recorded over the internet rather than in our guest’s studio. As a result the sound quality isn’t quite where we’d like it to be all the time. 

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The second ‘lockdown special’ episode of Material Matters features the excellent Sheridan Coakley. The entrepreneur cut his teeth as a modern furniture dealer before founding the iconic SCP – or Sheridan Coakley Products – in London’s Shoreditch during the mid-eighties. 

The manufacturer and retailer burst onto the nascent British design scene with pieces by Jasper Morrison and Matthew Hilton. In 1991 it produced the latter’s Balzac armchair, which has gone on to become a bona fide classic. Over the years the roll call of designers Sheridan has worked with includes: Konstantin Grcic, James Irvine, Michael Marriott, Donna Wilson, Rachel Whiteread and Reiko Kaneko to name just a handful. He has legitimate claims to be considered one of the most influential figures in British design over the past 35 years. 

In this episode we talk about his early days; swapping bubblegum cards with artist Eduardo Paolozzi; meeting Jasper Morrison for the first time (in quite surprising circumstances); setting up business in unfashionable east London; copying classics; the state of British design; and the future of retail. 

You can find out more about SCP here: scp.co.uk

(Please note this is a special episode made in really quite tricky circumstances, so the sound quality isn’t quite as good as normal.)

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This is the first special ‘lockdown’ edition of Material Matters. As regular listeners will be aware, we usually record our interviews in the studio or workshop of our guest but, because of the virus, this wasn’t able to happen.

So instead this show was done over the internet with the brilliant Gareth Neal. The London-based designer and maker has exhibited pieces across the world and has work in the collections of the V&A and the Crafts Council. 

Over the course of our chat, Gareth talks about his latest work in 3D printed sand; explains why designers should constantly be questioning themselves and their methods; and unpicks his eclectic collaborations with the likes of Orkney chair maker Kevin Gauld and cutting-edge architect, the late, great Zaha Hadid. 

However, the real focus of our discussion is his lifelong relationship with timber – he illustrates how the material is both fascinating and frustrating in equal measure – and technology, with the self-confessed ‘gambler’ putting forward a case for why digital manufacturing should be considered a form of craft.

You can find out more about Gareth’s work here: garethneal.co.uk 

(Please note this is a special episode made in distinctly tricky circumstances, so the sound quality isn’t quite a good as normal.)

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Seetal Solanki describes herself as a materials translator and has been in the vanguard of material thinking since she launched her practice, Ma-tt-er, in 2015. 

Three years later she produced the hugely influential book, Why Materials Matter, and she has gone on to work with a variety of brands, including Nike, Selfridges and Potato Head in Bali, as well as teaching at institutions such as Central Saint Martins (where, incidentally, she graduated from the Textile Futures MA)  and the Royal College of Art. 

Her latest project saw her joining forces with designer Jorge Penades in Madrid for Uprooted, an exhibition that explored Spain’s olive oil industry. 

In this episode, we talk about: helping people build a relationship with materials; why she’s working with olive tree roots; interviewing materials; her fascination with cookery (and her love of a cheese soufflé); growing up in Leicester and feeling rejected from her home city; the spiritual side of materials; being ‘broken’ by Central Saint Martins as a student; material discrimination; how her practice was built on frustration; and why she’s in a hopeful place. 

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Junko Mori is one of the world’s leading metal artists, who has work in the collections of The Goldsmiths’ Company, The British Museum and numerous others. The Japanese born blacksmith is renowned for her extraordinary work in mild steel or silver that aggregates hundreds of individually forged elements to create pieces that are often inspired by nature in general and cell division in particular. As she has said: ‘The uncontrollable beauty is the core of my concept.’ 

We talk about growing up in her native Japan; how she ended up fixing boilers in Tokyo for a living; why she decided to move to the UK in the 1990s; the fundamental differences between the two cultures she has lived in; and how she learned English by going to the local pub. 

Most importantly we talk about metal and the meditative qualities of forging – it’s a bit like jogging only better apparently.

You can find out more about Junko’s work here: www.junkomori.com

Meanwhile her pieces can be purchased here: adriansassoon.com

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It’s safe to say that ceramist Malene Hartmann Rasmussen is a one-off. I vividly remember first seeing one of her pieces in 2011. ‘If I Had a Heart I Could Love You’ was tucked away in a corner of an exhibition. 

At its centre was a wood burning stove but instead of logs there were clay hearts sizzling in the fire. Phallic wooden stumps grew out of the walls, while on the floor a pair of ceramic snakes appeared to be taking a distinctly Machiavellian interest in a nearby squirrel. It was obviously profoundly influenced by the fairy tales of the Brothers Grimm but also contained more than a hint of Pop Art as well as a dash of David Lynch’s seminal Twin Peaks.

In this conversation we talk about how growing up in provincial Denmark, with a family that had more than its fair share of issues, effected her work; her love of traditional Nordic fairytales in general and trolls in particular; a life-long fascination with film; and why her dog Django features so prominently in her work. Primarily though was focus on her love of clay and how the material has changed her life. 

You can find out more about Malene’s work here: malenehartmannrasmussen.com

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Car designer John Barnard is a Formula 1 legend. If motor sport is an orchestra of materials then John is its Simon Rattle. Over a garlanded career he worked for Ferrari (twice), Arrows and Prost. But his reputation was forged at McLaren, where he created the first car with a carbon fibre chassis. Lighter and safer, it won a lot of races too. 

More recently he has been working on a range of carbon fibre furniture with Terence Woodgate for British manufacturer Established & Sons.

In this episode we talk about quite how controversial it was to use carbon in the early ’80s, with other designers (and the media) believing that in a crash the new car would go up in a cloud of black dust. We also discuss his relationships with some of the biggest names in the sport, including Ron Dennis, Alain Prost and the great Enzo Ferrari; his childhood in North Wembley; the importance of beauty in what can be a brutal business; the profound effect the death of Ayrton Senna had on F1; his innate understanding of a vast range of materials; as well as how he got the nickname The Prince of Darkness. 

You can find out more about John’s work for Established & Sons here: establishedandsons.com

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Daniel Charny is a design educator, curator and a creative consultant whose practice, From Now On, has worked with the likes of the Design Museum, developer U+I, and Heatherwick Studio. 

However, he is arguably best known for co-founding Fixperts, an organisation which in the words of one writer ‘started out as a simple way of celebrating and clarifying the ingenuity and problem-solving power of design’. Since then though it has become rather more than that. 

In this episode we talk about the importance of making and the ‘axis of care’ that runs the gamut from conservation to hacking; craft’s relationship with industry; his upbringing in Israel (and elsewhere); the time Ron Arad told him he was unemployable; and his surprise at the huge success his V&A exhibition, Power of Making, enjoyed. 

Mostly though we focus on the success of Fixperts and why he wants everyone to be repairing things.

You can find out more about From Now On here: fromnowon.co.uk and there’s more about Fixperts here: fixing.education/fixperts

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Shelley James is a globally renowned glass artist with a fascinating tale to tell. She was ensconced in the corporate branding world – working for the likes of Imagination and Landor – before an injury to her head, sustained in a bicycle accident, completely changed her life and perspective. After a six-year (yes, six-year) period of convalescence, she decided to leave the business world behind and study printmaking. However, after a trip to the National Glass Centre in Sunderland, she became smitten with the material and has set out to push its possibilities ever since. 

Always looking to collaborate with new people from different disciplines, she has worked with surgeons at Bristol Eye Hospital, physicists at Imperial College, contemporary musicians and even Sir Roger Penrose, a mathematician and philosopher of science famed for (among other things) his research with Stephen Hawking. And she has managed all this despite only scraping an O Level in Maths. 

Shelley also happens to be wonderfully articulate, which is handy for a podcast like this…

You can learn more about Shelley’s work here: shelleyjames.co.uk

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Edward Barber and Jay Osgerby of Barber Osgerby are renowned industrial designers who have worked for the likes of Vitra, Knoll, Magis and Flos, as well as working on installations for brands such as BMW and Sony.  

In this episode the intention was to chat about the role plywood played in their nascent careers with Iskon Plus. However, we ended up chewing the fat about (among other things): meeting at the Royal College of Art and nearly being kicked out; not slagging off Richard Rogers; the 'toxicity’ of contemporary design; how the British design scene has changed since they emerged in the ’90s; the importance of collaboration; their obsession with making; and why their work definitely, definitely isn’t ‘Blair-ite’. 

En route we also go into detail about the creation of the Olympic torch for the 2012 Games, the thinking behind their revolutionary Tip Ton chair for Vitra, and their recent On & On stacking chair made of recycled plastic for the US manufacturer Emeco.

You can learn more about Jay and Ed’s work here: barberosgerby.com

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Corinne Julius is a London-based journalist, broadcaster and curator who was born into design. 

In this episode we discuss the history of her family firm, Hille, which revolutionised British furniture design after the Second World War, pioneering work from the likes of Robin Day and Fred Scott; her difficult time at the Royal College of Art and why she eventually felt compelled to leave; how she fell into journalism; and her introduction of craft to Radio 4’s Woman’s Hour. 

Importantly too, we examine her curating work, which includes the Silver Speaks: Idea to Object exhibition at the V&A and Future Heritage, her annual showcase of cutting-edge craft and design at the high end interiors show, Decorex. For good measure we also touch on the relationship between art, craft and design, and the importance of thinking through making.

I think it’s safe to say that Corinne had some reservations about doing the interview but (I reckon) that the finished result is evocative and really rather personal. 

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Sebastian Cox is a young London-based furniture designer, who founded and co-directs his eponymous company. He is renowned for his use of traditionally coppiced hazel.

In this episode he talks about his ambitious new manifesto, Modern Life from Wilder Land, that sets out a more sustainable future for food production in the UK. 

We chat about how we need to radically shift the way we use land; reducing our reliance on meat; how our woodlands need to be more effectively managed; and why design is a political act. Oh and we also discuss his issues with sheep and going to the gym. 

Not only that but we also unpick his relationship with timber; the importance of coppicing to his practice; the pressure of making a bespoke desk for a certain Sir Terence Conran; his more recent experiments with mycelium; and his love of Northern Soul.

You can find out more about Sebastian and his company here: sebastiancox.co.uk

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Barnaby Barford is a London-based artist and satirist. He has work in the collections of the V&A, Crafts Council and The Mint Museum, Charlotte, North Carolina. 

He initially came to prominence with work that often turned the mirror onto contemporary culture. In this episode he talks about his relationship with the material that brought him to prominence, ceramic.

However, that’s only the start. Because he also discusses his feeling that he never quite fits in; his fascination with the British class system; why he creates pieces to understand the world around him; his desire to make life difficult for himself; and how his hatred of shopping spawned the extraordinary Tower of Babel installation that wowed crowds at London’s V&A in 2015. 

We also hear plenty about his current obsession with the apple and his 2019 show at the David Gill Gallery, MORE MORE MORE. It’s an interview that manages to be both personal and wide-ranging. 

You can learn more about Barnaby and his work here: barnabybarford.co.uk. While the link to his gallery is here: davidgillgallery.com.

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Laura Youngson Coll is an artist and sculptor based in London. In this episode we talk about her relationship with vellum. Historically the calf’s, or goat’s skin, has been used to write on. The Magna Carta, for example, was inscribed on it as, for centuries, were the laws of this land. However, Youngson Coll, who has featured in Jerwood Makers Open and was shortlisted for the Woman’s Hour Craft Prize in 2017, manipulates the material to create extraordinarily intricate art works.

Her pieces have been inspired by lichen and the 19th-century biologist Ernst Haeckel. However, her most poignant work came in response to the death of her partner Richard from non-Hodgkin lymphoma. 

She discusses her background; coming into contact with vellum for the first time; how it changed her art; and why the material allowed her to make sense of tragedy. A little like her sculptures, it’s delicate, poignant, emotional and moving.

You can learn more about Laura and her work here: laurayoungsoncoll.co.uk

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Callum Robinson makes all sorts of things out of wood, as well as being the creative director of Method Studio, the company he established with his wife, Marisa Giannasi, 15 years ago. 

In 2024, he published a fascinating, lyrical memoir. Ingrained: The making of a craftsman, tells the story of his lifelong fascination with his material of choice, his relationship with his woodworker father, and running a small business in straightened times. 

Essentially, it’s a pean to the joy and importance of making things with your hands and to nature itself.

In this episode we talk about: converting an old saw mill into his workshop; publishing Ingrained; the relationship between writing and making; getting into a ‘flow’ state; growing up with wood and how it makes him feel ‘at home’; the material’s ability to ‘radiate nostalgia’; why elm is ‘the tenacious, swaggering dandy of the forest’; the danger of woodworking; machine tool vertigo; his pivotal relationship with his father; opening his own store; and re-training his hands.

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Andrew Waugh is the co-founder of award-winning architecture practice Waugh Thistleton. In this episode we  discuss why he decided to design tall buildings out of wood – or cross-laminated timber to be precise. 

In a wide-ranging conversation he lays out in no uncertain terms the issues the construction industry faces over sustainability, what it needs to do to avoid environmental calamity, and how CLT can provide some of the answers. En route he touches on the perceptions of the material and worries around wooden buildings post-Grenfell.

Not only that but he also explains how growing up in Milton Keynes led to his fascination with cars (he’s the proud owner of an electric one now); ponders on why he was such a lousy student; unpicks the influence British Library architect Sandy Wilson had on his career; and remembers what it was like designing hyper-fashionable bars and clubs in Shoreditch during the ’90s, while finding time to hang out with a generation of artists that became known as the YBAs. 

There’s some important stuff in here. You can learn more about Waugh Thistleton’s work here: waughthistleton.com

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Bethan Laura Wood is a London-based designer, who creates pieces for industry and the collectible market. In this episode she talks about her love for the material that made her name nearly a decade ago – laminate. 

A wide-ranging (and occasionally hugely intimate) discussion touches on the Royal College of Art graduate’s fascination with turning the ubiquitous into the precious, as well as focussing on her love of colour. 

However, she also tells us about her childhood growing up a little bit different in Shrewsbury; how being teased at school encouraged a sense of style that she has described as ‘Buckaroo meets Russian dolls’; and why her dyslexia may have encouraged a fascination with pattern.

 We also hear about her mother’s collection of fake fruit, which can’t be a bad thing. It’s a fascinatingly personal story from a genuinely unique design talent.  

You can learn more about Bethan and her work here: bethanlaurawood.com

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Han Ates is the founder of the London-based craft jeans company Blackhorse Lane Ateliers, whose mantra is to ‘think global but act local’. 

During our interview we discover what it was like leaving Istanbul for London in the late ’80s; how he started his career in clothing on the floor of his uncle’s factory as a presser; the problem of running his own business; and why he became disillusioned with the world of cheap fashion and decided to open his own restaurant instead. 

That all happened before he started his small but perfectly formed company in Walthamstow that not only wants to make the best jeans in the world but is also attempting to persuade consumers to rethink how and why they buy things. Blackhorse Lane Ateliers employs local machinists and offers shared ownership to each employee. Its factory building also houses craftspeople working in artwork restoration, fashion design, weaving, and even contains a pop-up restaurant.

It’s wonderful stuff that encompasses the importance of repair and how memory can be stored in the materials we wear.

You can learn more about Blackhorse Lane Ateliers here: blackhorselane.com

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At the time of recording Deyan Sudjic was the co-director of the London Design Museum. Although he has since stepped down from that role he remains a prolific author, essayist and curator and has been one of the most important figures in British design since the early ’80s.

Over the course of our chat we touch on an array of subjects, including: becoming an Oz Kid in the ’70s and the obscenity trial that ensued; growing up with his Yugoslavian parents; why he was a useless architecture student; starting Blueprintmagazine from his Docklands flat; taking over the Design Museum in difficult circumstances; and the decision to move the museum. 

After controversy over allowing an arms dealer to use the space for a corporate evening, we also talk about how our arts institutions should be funded in the future. It is by turns eclectic, insightful and fascinating, from one of design’s most important voices. 

You can learn more about the Design Museum here: designmuseum.org

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Kate MccGwire is an award-winning sculptor whose installations have been shown around the world, including Harewood House in Yorkshire, The Harley Gallery at Welbeck, Messums Wiltshire, Boca Raton Museum of Art, Florida and Galerie Haas AG in Zürich. 

In 2018 she won The Royal Academy of Arts, Jack Goldhill Award for Sculpture.

In this episode the Royal College of Art graduate talks about her fascination with feathers. Not only that but during the interview we also unpick her profound interest in mythology, water and the human body, discovering how they have become threads through her sometimes dark but always extraordinary pieces.

During a remarkably frank interview the artist discusses how she only realised she was dyslexic in her late-thirties; what it was like growing up in Norfolk; her decision to drop out of interior design and become a fine artist; her close relationship with the pigeon keepers that provide her raw material; and why her pieces have nothing to do with taxidermy…

You can discover more about Kate and her work here: katemccgwire.com

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Peter Ting is a ceramic designer, art director and the co-founder of gallery Ting-Ying. In this episode he talks about his life-long relationship with Blanc de Chine, to coincide with a new installation on the material that opened at London’s V&A Museum in 2019. 

And it transpires he has quite a bit more to say too. 

We discuss growing up in Hong Kong and moving to an English public school at the age of 16; how he discovered clay in the first instance and why he decided to work in Stoke-on-Trent. Not only that but he explains the craft behind manufacturing and how you can ‘hear’ if a factory is working efficiently.

 Arguably most importantly, he discusses identity and an epiphany he had at a crossroads in Shanghai that led him to re-discover his Chinese heritage. Also did you know that his father used to be Bruce Lee’s dentist?

You can discover more about Peter and his work here: peterting.com and Ting-Ying can be found here: ting-ying.com

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For this episode Material Matters travelled to Paris to chat to up-and-coming designer Marlene Huissoud about her relationship with propolis (or bee glue) – a substance made up of wax and resin that bees collect from vegetation and use to seal the honey frames inside their hive. 

Working the material a little like glass, the Central Saint Martin’s graduate has created a series of cooly dark, vaguely threatening, vessels as well as a number of other objects. 

During our chat we discuss what it was like growing up with her beekeeper father in the Alps; coming to study in England; why she decided recently to leave London for the French capital (in a word, Brexit); the reasons behind her decision to train as a nurse; creating pieces from her kitchen; and what she’s up to at during the 2019 London Design Festival.

You can find more information on Marlene and her work here: marlene-huissoud.com

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Tom Dixon is one of the biggest names in design with ‘hubs’ in New York, Hong Kong SAR, China, London, Los Angeles and Tokyo.

In this episode we sat down in his King’s Cross complex to discuss his days welding scrap metal into pieces of baroque furniture but we got into quite a lot more besides. There’s his appearance on Top of the Pops, for example. And the time when some furniture he’d produced for shoe designer Patrick Cox fell apart at a dinner party. We hear what London used to be like in the ’80s and why he might have been the bass player for Pink Floyd. 

He also talks about his decision to join Habitat, setting up with his eponymous brand, and the importance of food to his practice… as well as answering the biggest question of all: what exactly is the scent of Tom Dixon? You’ll have to listen to find out…

To learn more about Tom go to: www.tomdixon.net

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Adam Nathaniel Furman is an artist and designer based in London. His work has been exhibited in Paris, New York, Milan, Rome, Eindhoven, Minneapolis, Portland, Kortrijk, Tel Aviv, Veszprem, Mumbai, Vienna and Glasgow as well as his home city, and is held in the collections of the Design Museum, Sir John Soane’s Museum, the Carnegie Museum of Art, the Abet Museum, and the Architectural Association. 

He has also played a fundamental role in the recent re-appraisal of post-modernist architecture and has become an advocate of the need for colour in our built environment. Importantly too, over the years he has built a huge following on social media through his witty, trenchant and occasionally downright controversial posts.

This episode took the ‘critics’ slot’ in series two and covered issues such as: the Notre Dame blaze and the importance of heritage; queer aesthetics in architecture; reviving post-modernism’s reputation; the problem with unpaid internships... and his profound love of Nando’s. 

To describe it as wide-ranging would not be doing it justice. To find out much more about Adam and his brilliantly colourful work here: adamnathanielfurman.com

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Mourne Textiles is a rather brilliant hand-woven textile company based in Northern Ireland. It was founded by Gerd Hay-Edie after the Second World War and quickly went on to create pieces for the likes of Robin Day, Terence Conran, Liberty of London and fashion designer Sybil Connolly, becoming a staple of British modernism. 

After some difficult years, it has re-emerged from the doldrums and appears to be in fine fettle under the aegis of Gerd’s grandson Mario Sierra.

In this episode Mario discusses how he grew up surrounded by hand-weaving in Northern Ireland; living through The Troubles; the legacy of his extraordinary grandmother; the joy of lumpy yarn; and how his family firm has re-emerged with the help of companies like fashion designer Margaret Howell and furniture manufacturer Pinch. Oh, and we have a quick natter about Brexit as well but don’t let that put you off. 

You can find out more about Mourne and Mario here: mournetextiles.com

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Neil Brownsword is one of the most intriguing – and uncompromising – ceramic artists currently practicing in the UK. His work is inspired by the de-industrialisation of his home city, Stoke-on-Trent, and, appropriately enough, his career in ceramics began when he worked as an apprentice in the Wedgwood factory as a 16 year old in the mid 1980s. Subsequently, he went on to study at the University of Cardiff and the Royal College of Art. 

Neil’s research examines the manufacturing histories of North Staffordshire’s ceramic industry, and the effects globalisation has had upon people, place and traditional skills in recent decades. 

Over the years, he has won numerous awards and exhibited across the globe, while at the same time maintaining an important career in education. He is currently a professor of ceramics at the University of Staffordshire.

In this episode we talk about: his latest show at the Crafts Study Centre in Farnham, Surrey; historical copying in the ceramics industry; inducing failure; working at Wedgwood on a YTS scheme; being good at art in school; creating his early, sexually-charged pieces; not selling pots; why his work changed radically at the turn of the century; escaping the ‘stranglehold’ of narrative; becoming ‘a post-industrial factory manager’; bridling against ‘factory tourism’; putting industrial artisans on a cultural platform; investigating the ‘marginalised potential of the past’; and why it’s important to safeguard rather than preserve skill.

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Sculptor Laura Ellen Bacon weaves extraordinary structures out of willow. Her work has been shown in venues such as the Saatchi Gallery, Chatsworth, New Art Centre, Somerset House, Sudeley Castle (for Sotheby’s) and Blackwell – The Arts and Crafts House in Cumbria.

Meanwhile, in 2017 she was a finalist of the Woman’s Hour Craft Prize at the V&A and was selected for Jerwood Contemporary Makers in 2010.

In this episode she talks about growing up on a fruit farm in Derbyshire; her childhood obsession with building a two-storey tree house; her fear of failure; her interest in form rather than material; and why she has never woven a basket. We also discover how her work has inspired a new piece of orchestral music, written by Helen Grime and performed at the Barbican by the London Symphony Orchestra, conducted by Sir Simon Rattle.

You can find out more about Laura’s work here: lauraellenbacon.com

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Simone ten Hompel started her career as an apprentice blacksmith but has gone on to become one of the most influential metal artists in the world. Over the years she has had a major retrospective at the Ruthin Craft Centre and shown her work at fairs such as Collect at the Saatchi Gallery and What is Luxury? at London’s V&A. 

In an extraordinary interview she discusses: her ‘alternative’ East London studio; getting her first tool box at the age of six; her childhood in West Germany; her ability to ‘read’ the colour grey; the ‘taste’ of metal; her fascination with spoons; and why she isn’t all that keen on technology. 

Perhaps most importantly though we talk about her dyslexia – how she learned to cope at a school that didn’t really understand and why it has allowed her to see the world in a slightly different way. It’s wonderful, important stuff I reckon. 

To learn more about Simone’s work go to: tenhompel.com or you can check out her gallery here: galleryso.com

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James Shaw is an up-and-coming designer who has made a name for himself through his use of that most controversial of materials – plastic. 

Using a gun-like mini-extruder, he produces sausages of the material that he subsequently manipulates to create a huge variety of products – from candlesticks to tables. His work is an attempt to change its perception, to persuade people to treasure plastic, rather than using it once before burying it in the ground,

During this episode we investigate our age of over-consumption and discuss the role of the designer as provocateur and activist. Not content with that, we also talk about how David Attenborough affected his career; why we should get rid of those green tops on our milk bottles; and discover the reasons behind him growing ‘plywood’ in a petri dish.  

It’s fascinating, provocative stuff. You can learn more about James and his work here: jamesmichaelshaw.co.uk

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Kate Malone is one of Britain’s most important ceramicists, with pieces in the collections of Los Angeles County Museum of Art, Manchester Art Gallery and the V&A, to name just a few.

She works in many different areas, from nature-inspired gallery pieces to batch production mugs via public art and architectural commissions – as she puts it rather wonderfully, her projects range in value from £25 to £1.5 million.

In a discussion that can only be described as wide-ranging, we talk about her fascination with the natural world; how a near-deadly bout of meningitis changed her life for the better; her time as a TV judge on The Great Pottery Throwdown(clue: she was the one that didn’t burst into tears continually); and why exactly people used to mistake her for Simply Red’s Mick Hucknall.

The thread through it all is her love of clay and the joy she evidently finds in communicating with it. You can find out more about Kate here: katemaloneceramics.com or go to her galleryist’s site here: adriansassoon.com. 

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Bill Amberg was the first ever guest on the Material Matters podcast. The renowned leather designer is arguably best known for his bags but over the years he has increasingly worked on architectural projects with the likes of David Chipperfield at the RA and MUMA at Westminster Abbey.  He is a master of his craft and a really good bloke to boot. 

In this episode we talked about his upbringing in Northampton (did you know his mum used to work with Alvar Aalto?), learning his trade in Australia, forging a business in London during the ’80s, his love of architecture, and, most importantly, his life-long relationship with leather. 

Oh we also had a quick chat about how he ended up working on oil rigs in the North Sea. You can find out more about Bill and his extraordinary studio here: www.billamberg.com

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Every now and again I break the format of the podcast and speak to a critic or someone who can provide an overview of the field. In series one I featured  the New York-based curator and commentator Glenn Adamson. The fact that he also had a new book out – entitled Fewer Better Things: The Hidden Wisdom of Objects – was an added bonus. 

I think it’s safe to say that we cover a fair amount of turf in our conversation: the relationship between academia and craft, the role of museums in our digital age, middle class consumption, and how his grandfather Arthur became a rocket scientist (I know what you’re thinking but he really did). The thread running through all this is the importance of what he describes as ‘material intelligence’. Incidentally did you know that Glenn can play the Irish pipes? No, me neither.

You can find out more about Glenn and his work here: glennadamson.com

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Peter Layton is one of the pioneers of the British studio glass movement. 

During our interview Peter recounts an extraordinary life that has included fleeing Eastern Europe from the Nazis and settling as an immigrant in Bradford, studying ceramics under the likes of Ruth Duckworth (and not Dickinson as your tongue-tied host accidentally said) at the Central School of Art and Design, meeting the wildly influential glass artist Harvey Littleton while he was teaching in the US, and burning himself badly the first time he ever tried to work with the material. 

Naturally enough he discusses his love of glass but, perhaps as importantly, how he has managed to keep his workshop and gallery London Glassblowing – employing 10 other makers – going successfully in the heart of a city intent on gentrification. It’s really quite inspiring. 

Incidentally did you know that Peter’s son, Bart, wrote and directed the absolutely brilliant heist movie American Animals, which was released in 2018? They are one of those annoyingly talented families evidently. 

You can find out more about Peter and London Glassblowing here: londonglassblowing.co.uk

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Celia Pym is an artist who has taken darning out of the domestic sphere and into galleries and museums. In this episode we chat about a career that has encompassed studying sculpture at Harvard via jobs in teaching and nursing – as well as a stint at the Royal College of Art – to being a finalist of the Woman’s Hour Craft Prize in 2018. 

One of the intriguing elements of Pym’s work is that she uses the process of darning and the objects that are brought to her to get to know people. As she told me in our discussion: ‘Early on I heard tons of stories about grief and I wasn’t sure if that was to do with me or the way I was asking the question… I realised it’s the damage that interested me sometimes more than the repair. I wondered if subconsciously I’d been communicating that. Instead of showing me a hole, I was saying show me the damage.’ Her story of how she started to repair her late great uncle’s jumper is genuinely emotional. 

You can find out more about Celia here: celiapym.com

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Edmund de Waal is that rarest of creatures, a potter who has broken out of the crafts world into the fine art market. He also happens to be a best-selling author of books such as The Hare with Amber Eyes and The White Road as well as a lucid and thoughtful speaker and curator. His work has been shown around the world in places such as the RA, Cambridge’s Fitzwilliam Museum, the V&A and the Ateneo Veneto in Venice. His first set design featured in the 2017/18 Season at the Royal Opera House for Yugen, a new ballet by choreographer Wayne McGregor.

In this episode we talk about a childhood he has described as ‘odd’ (the Pope and Princess Diana both came around the house but not at the same time apparently), the relationship between making and writing, dealing with critics, and why some pots are ‘needy’. The thread running through it all is his love of the white stuff – in his case, porcelain.

You can find out more about Edmund’s work here: edmunddewaal.com

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Eleanor Lakelin appeared on in the first series of Material Matters and is one of the UK’s leading woodturners, concentrating on making an array of vessels since 2011. As she explains: ‘I’m fascinated by wood as a living, breathing substance with its own history of growth and struggle centuries beyond our own. I’m particularly inspired by the organic mayhem and creative possibilities of burred wood. This proliferation of cells, formed over decades or even centuries as a reaction to stress or as a healing mechanism is a rare, mysterious and beautiful act of nature.’

During our chat Eleanor tells me about her childhood growing up in North Wales, why she initially decided to take up teaching, her early career as a furniture maker, and how a visit to the Collect fair changed her life. 

Most importantly though we talked timber and her fascination with the material. Oddly we also managed to touch on dentistry too.

To find out more about Eleanor and her work here: eleanorlakelin.com

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Zandra Rhodes is one of the most recognisable and influential figures in fashion, as well as the founder of the Fashion and Textile Museum in London. 

Describing herself as both ‘chaotic’ and ‘fastidious’, she possesses a unique sense of colour and pattern. Over the years, she has dressed some of the world’s most famous people from Freddie Mercury, Elizabeth Taylor, Debbie Harry and Diana Ross to royals including Princess Anne, Princess Margaret and Princess Diana. She has also appeared on TV shows such as Absolutely Fabulous and Masterchef. 

Zandra was made a Dame in 2015, while this year, she published an intimate biography, entitled Iconic: My Life in Fashion in 50 Objects, which shines a light on an utterly extraordinary career. 

In this Yuletide episode, we talk about: Zandra’s ‘more is more’ home and studio; the importance of working with your hands; festive fun with cult actor Divine; her collecting habit; becoming interested in textile design at art college; her love of drawing; nearly meeting Andy Warhol; why pink is a ‘complicated’ colour; how print leads the garment in her work; breaking America; Lauren Bacall stepping on a pin in her studio;  working with the royal family and dressing Freddie Mercury; the influence of friendship and travel on her practice; dealing with cancer; and founding London’s Fashion and Textile Museum.

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Aaron Betsky is a US-based writer, educator and critic, who has served as director of the Cincinnati Art Museum and the Netherlands Architecture Institute, as well as a curator of architecture and design at the San Francisco Museum of Modern Art. 

He has also written over 20 books with subjects ranging from Zaha Hadid, Frank Lloyd Wright, and the Dutch architecture practice MVRDV to the relationship between architecture and same-sex desire. 

He is about to publish another. Don’t Build, Rebuild: The Case for Imaginative Reuse in Architecture implores the construction industry to refrain from doing what it does most – building – and, instead, find new ways to use the materials and stock we already possess. 

In this episode, we talk about: the trauma of election day in the US; how we can reuse buildings imaginatively and effectively; working with relics of the industrial age; why the digital world is changing the architect’s role; making spaces more egalitarian; squatting; what architects can learn from artists; urban mining; taking inspiration from music festivals; hanging out in the legendary Studio 54; the importance of loft living; and much, much more.

(This episode was recorded on election day in the US.)

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Nicole Rycroft is the founder and executive director of the award-winning environmental not-for-profit, Canopy. Since it launched in 1999, the Vancouver-based organisation has worked with more than 950 companies – including Marks & Spencer, Tesco and Puma – to ‘develop innovative solutions and make their supply chains more sustainable to help protect our world’s remaining ancient and endangered forests’. 

It started by looking at the book industry and persuading publishers to use more recycled paper, before turning its attention to packaging and fashion – shining a light on the industry’s use of viscose, in particular. 

Nicole has won a slew of awards and was recently named in the Business of Fashion’s top 500 most influential people. 

In this episode we talk about: being a ‘professional treehugger’; dealing with textile waste in India; how viscose is made and its negative effect on the environment; developing new manufacturing models for the material; working with major fashion brands to help them become more circular; her journey from physiotherapist and rower in Australia to activist in Canada; how contracting a life-threatening virus changed her life; running her first environmental organisation at nine years old; documenting human rights violations in Burma; and successfully greening the Harry Potter books with JK Rowling.

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Mark Hearld is an artist and designer who has a fascination with flora and fauna and has worked in a range of different media – including lithographic and linocut prints, painting, ceramics, textiles and tapestry. However, he is best known for his collage pieces. 

A graduate of Glasgow School of Art and the Royal College of Art, he has curated installations and exhibitions at York Art Gallery and Compton Verney and is an avid collector of objects. Over the years, he has been a huge advocate for the importance of mid-Twentieth century British artists such as Edward Bawden and Eric Ravillious and the role of craft in the fine art world. 

Another edition of Mark’s book, Raucous Invention – The Joy of Making, will be published by Thames and Hudson in 2025. 

In this episode we talk about: his fascination with paper; his need to be around other people when he works; collaborating with Edinburgh’s Dovecot Studios on a new series of tapestries; the process behind his collage work; the ‘mystery, poetry, joy and darkness’ of Hans Christian Andersen; why collage is like stepping onto a dance floor; writing a collage manifesto; how edges contain exuberance; having imposter syndrome at the Royal College of Art; and swimming against the art world’s tide for many years. 

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