Artist Bharti Kher was brought up in England before moving to India almost on a whim in the early ’90s. Since then, she has established herself as a major player on the international art scene. 

Her sculptures talk about women’s place in society and the female body. She has a fascination with mythology and mixing the real with the magical, as well as a profound interest in materials and found objects. She has melted down bangles, used saris, and ceramic figures, as well as casting people with plaster. But she’s best known for her work using bindis, made from felt. 

And she will be using bindis to create a huge piece on London’s Southbank, which opens in September. Right now, she has a wonderful exhibition at Yorkshire Sculpture Park, entitled Bharti Kher: Alchemies, which shows a range of pieces from 2000-2024.

In this episode she talks about: using things she finds – from radiators to bangles; how objects have inherent narratives and why she ‘exhausts’ them; the importance of bindis; breaking things; her fascination with negative space; casting people in plaster; growing up in Epsom and loving art from a young age; travelling to New Delhi on the toss of a coin; and being married to a fellow artist. 

And remember the Material Matters fair takes place at Bargehouse, Oxo Tower Wharf from 18-21 September. It's free for trade but you must register in advance here: https://registration.iceni-es.com/material-matters/reg-start.aspx

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Oliver Heath is a designer, architect, author and one of the world’s leading advocates for biophilic design. Along with his team and the sustainable platform Planted, he currently has an exhibition at the Roca Gallery in South London, which focuses firmly on bio design – illustrating what it is, why it’s important, and how it can be used in the spaces we inhabit. 

Oliver has been a fixture on our TV screens since 1998, working for the likes of the BBC, ITV, Channel Four, the Discovery Channel and Norway’s TV2. He is a regular on DIY SOS and was, of course, one of the designers on the iconic ’90s show, Changing Rooms.

In this episode we talk about: his fascination with biophilia and how it affects his practice; its core principles and history; why sustainability is about more than counting carbon; problems with architecture education; his issues with clay; the importance of evidence in his design approach; how wood effects the heart rate; being average at school; getting famous on Changing Rooms; reinventing himself professionally… and the importance of soup. 

And remember the Material Matters fair takes place at Bargehouse, Oxo Tower Wharf from 18-21 September. It's free for trade but you must register in advance here: https://registration.iceni-es.com/material-matters/reg-start.aspx

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Florian Gadsby is a bit of a phenomenon. The ceramicist currently has a new show at the Yorkshire Sculpture Park, and has also published a memoir, By My Hands, that charts his formative years with clay, including apprenticeships in the UK and, most intriguingly, Japan. 

Essentially, it unpicks his route to becoming a fully, fledged professional potter, while at the same time, providing tips about his thinking and process. 

Since he started on Instagram a decade ago, Florian has built up a social media following that can only be described as formidable. He’s part of a generation that has changed the way pots, in particular, but craft, in general, can be communicated, using Instagram and YouTube as educational tools but also as a hugely effective channels for selling work. 

In this episode we talk about: what his studio says about him; his YSP show; selling ‘merch’; being young to publish a memoir; comparing writing to pottery; his fascination with the colour green; going to a Steiner school; deciding against university; his love of mugs and the joy of repetition; his apprenticeship in Japan; resisting the tag of the ‘Instagram potter’; the pressure of social media; and wanting his own apprentice (eventually). 

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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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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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Christien Meindertsma is a Dutch designer who has a fascination with materials. She currently has an installation at the V&A, entitled Re-forming Waste, which shows new work based around her interest in linoleum, as well as technological advances with the material she has described as her first love, wool.

Christien came to wider attention initially when she graduated from the Design Academy Eindhoven in 2003, with a book that catalogued a week’s worth of objects confiscated at security checkpoints in Schipol Airport.

She followed that up a few years later, with PIG 05049, an extraordinary tome which looked at all the products made using a single pig.

Her work is the collections of MoMA, the V&A, and the Vitra Design Museum. Over the years, she has won numerous Dutch Design Awards, as well as creating the award for the prestigious Earthshot Prize.

In this episode we talk about: working alone; experimenting with linoleum; her family’s history with wool; the importance of provenance; defining failure and success; not being interested in selling things or mass production; working with the city of Rotterdam to find ways to deal with its wool; collaborating with a ‘wobot’; designing like a journalist, the energy of Design Academy Eindhoven; and the unexpected uses of a  pig…

We are delighted this episode has been sponsored by the Surface Design Show. The event of choice for architects and designers, it runs from 6-8 February at London’s Business Design Centre and you can register for free at surfacedesignshow.com. We hope to see you there. 

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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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This special festive episode is slightly different because, as we come to the end of 2023, we thought it would be interesting to talk to someone who has had a breakthrough year. 

And we couldn’t think of anyone that description fits better than UK-based designer, Simone Brewster. In June, Simone held her first solo exhibition at the NOW Gallery on London’s Greenwich Peninsular, entitled The Shape of Things. While, in September, her installation Spirit of Place with cork company, Amorim, opened on the Strand in the centre of the capital. 

These came with what amounts to a blizzard of publicity, including a profile in the New York Times. In short, she has been hard to avoid.

In this episode Simone and Grant talk about: her brilliant year; how The Shape of Things informed her practice; creating ‘intimate architecture’ with furniture and jewellery; her (occasionally extraordinary) use of colour; the importance of taking herself seriously; the thinking behind her best-known pieces, The Negress and The Mammy; painting during the pandemic; why people didn’t know what to do with her work; working with cork; her issues with studying architecture; making as salvation; not fitting in… until now; and her plans for 2024. 

We’re delighted that this episode has been sponsored by the American Hardwood Export Council Europe. You can find its excellent podcast Words on Wood here: 

https://podcasts.apple.com/gb/podcast/words-on-wood/id1559894669. 

It’s well worth checking out.

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Jeremy Maxwell Wintrebert is a Paris-based designer, maker, and artist, obsessed with blown glass. In an eclectic career, that has seen him travelling through the USA and Europe, before settling in France in 2007, he has shown work at the V&A, Vessel Gallery in London, and Palais de Tokyo among others. His pieces are also held in a number public collections including: Bibliotheque de France de L’Ecole National des Chartes, and Germany’s European Museum of Modern Glass.

In 2016, Jeremy was the subject of a feature-length documentary about his work and extraordinary life, entitled Heart of Glass, while in 2019, he was awarded the Prix Bettencourt pour l’Intelligence de la Main.

In this episode we talk about: having conversations with hot glass and looking for the secrets of the universe; the importance of teamwork to the production of his pieces; dreaming about his material of choice; the physicality involved in making; glass’ relationship with the worlds of art and design; how hot glass ‘grabbed’ his soul; a car accident that changed his life; growing up in Africa and losing his parents early; his subsequent substance abuse; and his desire to break the barriers between disciplines.

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Neil Thomas is the founder and director of Atelier One, one of the most creative engineering practices in the UK. The firm has worked on building projects such as Singapore Arts Centre, Federation Square in Australia, and Baltic in Gateshead, as well as with a hugely impressive roster of artists, including Anish Kapoor, Marc Quinn and Rachel Whiteread. It has also created stages for stadium rock shows from Pink Floyd, The Rolling Stones, U2, and Take That, often in collaboration with architect, the late Mark Fisher.

The practice was the engineer behind the opening ceremony of London’s 2012 Olympic Games and the 2014 Winter Olympics in Sochi. While Neil also teaches at Yale and MIT.

Over recent years, he has developed a fascination with bamboo and was part of the team that created the award-winning Arc building, a community wellness space and gymnasium for the Green School campus in Bali.

In this episode we chat about: the role of a structural engineer; his ability to talk a number of design languages; the genesis of his obsession with bamboo and its extraordinary properties; overcoming bamboo’s image problem; giving up a teaching post at Yale to build with the material; wanting to be an engineer from childhood; the importance of David Bowie to his life; and, er, having a pony tail in his youth.

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Caroline Till is a consultant, author, curator, and academic. She founded Franklin Till, along with Kate Franklin, in 2010 and, since then, the future research agency has worked with the likes of international textile exhibition Heimtextil, paper giant GF Smith, Caesarstone, Tarkett, and IKEA’s former blue sky thinking agency, Space 10. 

The pair has published magazines such as Viewpoint and Viewpoint Colour and co-written the influential book Radical Matter, as well as curating Our Time on Earth, a touring exhibition about the future of the planet which started at London’s Barbican last year.  

Not only that, but for many years, Caroline headed up the Material Futures course at Central Saint Martins, which has produced a number of designers that have appeared on this podcast. She’s also a speaker who is much in demand internationally and opened the talks programme at this year’s Material Matters fair.

In this episode we talk about: being a climate optimist; why Franklin Till specialises in material and colour; her issues with trends; turning down projects; not being keen on the word ‘sustainability’; defining regenerative design; the importance of seduction; issues with capitalism; thinking of materials as systems; technology’s relationship with nature; and the benefits of studying textile design. 

However, we kick off with her objection to the UK’s current Home Secretary, Suella Braverman… 

Our thanks go to the headline sponsor for this series of the podcast – and the Material Matters 2023 fair – the brilliant lighting specialist, Bert Frank. For more details go to: bertfrank.co.uk

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Tom Lloyd and Luke Pearson co-founded the hugely influential design studio, Pearson Lloyd, in 1997. Since then, it has gone on to work in areas such as the workplace, transport and health care, with organisations like Virgin, Lufthansa, the Department for Health, and furniture giant Senator. 

The practice is the Designer of the Year at the Material Matters 2023 fair and will be using the space at Bargehouse to investigate how its use of materials has been transformed over recent years, including projects with clients such as Modus, Batch.Works, Howe, Flokk, Profim and Camira. 

In this episode we talk about: controversially criticising Arne Jacobsen’s classic Egg chair; their installation at Material Matters 2023; marrying craft and industry; how their material perspective has changed; balancing environmental, social and economic needs; why they’re still using plastic; building out obsolescence; the aesthetics of circularity; bringing contemporary workplace theory to schools; the importance of visible fixings, durability and repair; working with the aviation industry; the problem with paint; meeting at the Royal College of Art; being drawn into the furniture industry; celebrating their differences; and fearing boredom. 

Our thanks go to the headline sponsor for this series of the podcast – and the Material Matters 2023 fair – the brilliant lighting specialist, Bert Frank. For more details go to: bertfrank.co.uk 

And to register for the Material Matters fair, which runs from 20-23 September at Bargehouse, Oxo Tower Wharf go to: 

https://www.eventbrite.co.uk/e/material-matters-2023-tickets-591491014547

PS apologies for my slightly ham-fisted Monty Python analogy…

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Marie Carlisle is CEO and co-founder of social enterprise (and Material Matters exhibitor), Goldfinger. The organisation opened its doors at the foot of West London’s Trellick Tower in 2013 and makes high end furniture from wood – that has often been reclaimed or ‘treecycled’ – in its workshop. Not only that but it has a showroom and cafe, as well as an academy that teaches marginalised young people the craft of wood working through its apprenticeship programme. 

It is a fascinating and, I think, important place.

In this episode we talk about: how Trellick Tower shaped the business; making waste aspirational; bridging North Kensington’s social divide; why Goldfinger works with wood; the relationship between wood and wellbeing; the importance of ‘treecycling’; collaborating with the likes of Arup and Tom Dixon; her fascination with food and setting up the cafe; the once a month community meal; how the pandemic changed the People’s Kitchen model; working with young people in the academy; how the social enterprise has changed over the past decade; Goldfinger’s future. 

Our thanks go to the headline sponsor for this series of the podcast – and the Material Matters 2023 fair – the brilliant lighting specialist, Bert Frank. For more details go to: bertfrank.co.uk 

And to register for the Material Matters fair, which runs from 20-23 September at Bargehouse, Oxo Tower Wharf go to: 

https://www.eventbrite.co.uk/e/material-matters-2023-tickets-591491014547

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My guest for the 100th episode of Material Matters is a British designer who sits somewhere between industry and craft. Michael Marriott has a fascination with materials – so much so that his web shop is called Wood Metal Plastic – and a love of resourceful design. Over the years he’s created furniture for the likes of Established & Sons, SCP, and Very Good and Proper, as well as designing and curating exhibitions, working on interiors, and teaching. However, he seems happiest in his own workshop, working on batch production pieces. It’s safe to say he’s a pivotal figure in the recent history of British design. 

In this episode we discuss: standing on the edge of regular design practice; but not being a craftsman; how tools change design and the importance of a jig; creating cost-effective products; why ‘resourceful’ could be his middle name; the problem with design as an extension of marketing; his love of wood; not working with big Italian furniture brands; readymades and waste; how a trip to Ford’s Dagenham factory changed his life; struggling at school; and his discovery of modernism. 

It’s a delightful way to mark our centenary. 

Our thanks go to the headline sponsor for this series of the podcast – and the Material Matters 2023 fair – the brilliant lighting specialist, Bert Frank. For more details go to: bertfrank.co.uk 

And to register for the Material Matters fair, which runs from 20-23 September at Bargehouse, Oxo Tower Wharf go to: 

https://www.eventbrite.co.uk/e/material-matters-2023-tickets-591491014547

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Alice Kettle is one of the country’s leading textile artists. She uses embroidery to tell stories and throw the spotlight on contemporary issues – most noticeably the refugee crisis in her series Thread Bearing Witness. 

Currently, she has a solo installation at two sites in The City of London as part of her prize for winning The Brookfield Properties Craft Award. While an exhibition she co-curated, Threads: Breathing Stories into Materials, opened at Bristol’s Arnolfini in July. She is also professor of textile arts at Manchester School of Art.

In this episode we discuss: creativity as a humanising force; how the refugee crisis affected her practice; why making is empowering; the importance of scale; the special meaning of the number three; being influenced by Greek mythology; growing up in a boys’ boarding school; her interest in stitching after the tragic death of her mother; her move from abstract painting to thread; and taking risks with her pieces. 

Our thanks go to the headline sponsor for this series of the podcast – and the Material Matters 2023 fair – the brilliant lighting specialist, Bert Frank. For more details go to: bertfrank.co.uk 

And to register for the Material Matters fair, which runs from 20-23 September at Bargehouse, Oxo Tower Wharf go to: 
https://www.eventbrite.co.uk/e/material-matters-2023-tickets-591491014547

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Ernest Scheyder is an author and senior correspondent for Reuters. His new book, The War Below: Lithium, Copper, and the Global Battle to Power Our Lives, looks at the impact of the green transition in the US – and, more particularly, the tensions over the increasing need to mine for metals to decarbonise the grid (and power a plethora of devices) against the nation’s desire to conserve the environment. 

The book illustrates how materials effect geo-politics and the urge for energy security, inform the national debate, and impact at a very local level. It also suggests that  becoming more sustainable is anything but straightforward.

In this episode we talk about: why lithium and copper are vital to our futures; where the materials are mined and processed; 'material colonialism'; how the pandemic changed perceptions of our supply chains; why some mineral-rich nations are excluding the US; the role of China in the 21st century global economy and the withering of US hegemony; the new ‘green arms race’; why mining is in a ‘perpetual state of decline’; the tension between local desires and global needs; the role of religion and conservation; child labour in the Democratic Republic of Congo;  the ‘dualistic’ policies of President Biden; and Scheyder’s issue with leaf blowers…

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Beatie Wolfe is a musician and artist, who has in her time been described as a ‘musical weirdo and visionary’ and one of the ‘22 people changing the world’. 

In a relatively short career she has: created a 3D interactive album app and a musical jacket; worked in the world’s quietest room to develop an ‘anti-stream’; fired her music into space; made a documentary with the Barbican; designed an environmental protest piece, entitled From Green to Red, which was shown at the Nobel Prize Summit; worked with people suffering from dementia; and recorded a track for a 12 inch record made of bioplastic, alongside Michael Stipe. 

Her latest project, Imprinting: The Artist’s Brain, was on show as part of the recent London Design Biennale at Somerset House, and is a 'sonic self-portrait' that involves old-school telephones as well as a thinking cap designed by an iconic tailor. 

The theme running through all this is her desire to 're-materialise' music and give it back a sense of ‘tangibility and ceremony’. 

In this episode we discuss: keeping space rock in her pocket; her latest project at the London Design Biennale; being self-critical as a child; writing her first songs aged nine; working with renowned tailor Mr Fish; the importance of collaboration; sending her music into space; finding the balance between innovation and tradition; her childhood desire to be a ninja; being in a grunge band; the power of art; and the importance of neurologist Oliver Sacks to her career. 

Our thanks go to the headline sponsor for this series of the podcast – and the Material Matters 2023 fair – the brilliant lighting specialist, Bert Frank. For more details go to: bertfrank.co.uk

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Ndidi Ekubia creates extraordinary, almost liquid-looking, vessels from silver. She graduated from the University of Wolverhampton in 1995, before going on to the Royal College of Art. Since then, her work has been shown internationally at exhibitions such as TEFAF in Maastricht, Masterpiece in London, and Pavilion of Art & Design in New York.

Her pieces are held in Winchester Cathedral, Aberdeen Art Gallery & Museum and The Asmolean Museum in Oxford. 

Currently, she has a series of vessels in Mirror Mirror, a new exhibition at Chatsworth House that also contains furniture, lighting, ceramics, and sculpture from designers such as Fernando Laposse, Samuel Ross, Faye Toogood, and Ettore Sottsass. 

Ndidi was awarded an MBE in 2017 for services to silversmithing. 

In this episode we talk about: why she loves silver; the rhythm that lies behind her process; listening to the metal and trying not to ‘torture’ her material; silver’s memory; the importance of function; the African influence in her pieces; wanting to leave Manchester as a child but returning as an adult; her early love of Lowry; discovering metal as a student; having her work reassessed in the wake of Black Lives Matter; and her relationship with her gallery, Adrian Sassoon.

We are delighted that the headline sponsor for this series of the podcast – and the Material Matters fair – is the brilliant lighting specialist, Bert Frank.

For more details go to: bertfrank.co.uk

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Henry Tadros is chairman of one of the country’s most renowned furniture companies, Ercol. The firm was founded by Italian immigrant, Lucian Ercolani, in 1920 but it really found its feet after the Second World War with the Windsor Range – an industrial version of a traditional craft chair – that is best known for its steam bending process and using a combination of elm and beech wood. 

Over the years, Ercol’s furniture, with its pared back – but somehow very British –aesthetic, has found its way into millions of homes across the globe. 

And the company has remained firmly in family hands. Henry is the fourth generation to run Ercol, taking over from his father, Edward, last year. 

In this episode we talk about: the manufacturer’s history with elm and beech; Dutch Elm Disease and its effect on the brand; turning to ash instead; launching his new brand L.Ercolani; working with designers such as Matthew Hilton, Tomoko Azumi and Norm Architects; joining the family business and working his way up from the factory floor; his family’s fascinating history; the influence of the Shakers; the importance of apprenticeships for Ercol; the company’s sometimes fraught relationship with Modernism; where Henry’s brands will be in 15 years time.

We are delighted that the headline sponsor for this series of the podcast – and the Material Matters fair – is the brilliant lighting specialist, Bert Frank.

For more details go to: bertfrank.co.uk

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Donna Wilson is a globally-feted designer. She initially made a name for herself in 2003 with a series of knitted toy creatures made of lambswools, which managed to be odd and endearing all at the same time. Since then, she has worked with the likes of SCP, John Lewis, V&A Dundee, as well as having a solo show at the Yorkshire Sculpture Park. 

Meanwhile, her range of products has expanded, encompassing furniture and accessories, sculpture, fashion, and magazines. There’s also a book. In 2010, she was named Designer of the Year at Elle Decoration’s British Design Awards. 

Most recently, she has launched The Knit Shop, a micro-knit factory in Dundee. She describes the new production facility as ‘my small bit to keep the tradition of knitwear and textile production in Scotland alive, so that these precious skills are not lost forever’.

In this episode, we talk about: taking control of her production and the difficulty of manufacturing in the UK; how the pandemic re-shaped her business; becoming a brand; creating her creatures; preserving her craft essence; the importance of repair; having a poem written about her (yes, really); knitting; growing up on a Scottish farm and being inspired by her grandmother; and how getting spotted by New York design retailer Murray Moss changed her career.

We are delighted that the headline sponsor for this series of the podcast – and the Material Matters fair – is the brilliant lighting specialist, Bert Frank.

For more details go to: bertfrank.co.uk

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Julian Stair is one of the UK’s leading ceramic artists. He has exhibited internationally since the 1980s and made his name making beautiful, pared-back everyday forms. Julian’s work is in 30 public collections, including the British Museum and the V&A and he was awarded an OBE in 2022 

In March, he launched a fascinating, and deeply moving, new exhibition at the magnificent Sainsbury Centre near Norwich, entitled Art, Death and the Afterlife. The show is his response to the pandemic and the cinerary jars and abstracted figurative forms invite visitors to meditate on the relationship between the clay vessel and the human body. To emphasise the point, in a number of the pots, the clay itself contains the cremated ashes of people donated by their loved ones. 

In this episode we discuss: how his new show was shaped by the pandemic; the relationship between the pot and the human body; why pots matter; using people’s ashes to create his work and reflecting their personalities in a vessel; art’s ability to cross boundaries; working against the tides of fashion; the importance of writing and history to his practice; and dealing with the death of his own son. 

This series of the podcast – and the Material Matters 2023 fair – is brought to you by the brilliant lighting specialist, Bert Frank. For more details go to: bertfrank.co.uk

Meanwhile, this episode has been sponsored by Maak, the specialist auction house and art consultancy dedicated to contemporary ceramics and craft. To find out more go to: maaklondon.com

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Paul Cocksedge is a London-based designer who has built a reputation over the past twenty years for creating projects that push the limits of technology and materials. During that time, for example, he has melted polystyrene cups in an oven to make a lamp shade, treated steel as if it was a folded piece of paper, worked with concrete from the floor of his own studio, and fused metal under the snow. 

His CV contains major exhibitions at galleries such as Friedman Benda in New York and Carpenters Workshop Gallery in London, installations in Milan, public art projects such as Please Be Seated and Drop for the London Design Festival and products that range from picnic blankets inspired by the pandemic to a bluetooth device that gives old speakers a second life. 

His most recent exhibition, called Coalescence, which was held earlier in March at Liverpool Cathedral, investigated coal. 

In this episode we talk about: why he decided to work with coal; going down a mine in South Wales; emotionally ‘feeling’ his ideas; the role anger plays in his creative process; his early fascination with light; the influence on his career of Marc Benda, Ingo Maurer, Ron Arad and Joana Pinho; making a steel table ‘dance’ and turning the concrete floor of his studio into furniture; wanting to be a pilot as a child; ‘bribing’ his way into the Royal College of Art with fake fivers; bonding metal under snow; and why he doesn’t want to be an architect. 

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Ineke Hans is a world-renowned product and furniture designer. She originally studied art at Hogeschool voor de Kunsten Arnhem before switching to design. In 1993, she moved to London’s Royal College of Art and, subsequently, worked for Habitat as a furniture designer. 

By the end of the decade she was focusing on her own work and, since then, clients have included Ahrend, Arco, Iittala, SCP and Magis to name just a few.  Currently, she spilts her time between Arnhem and Berlin, where she is professor in the product and fashion design department of UDK university in Berlin. 

Most recently she has created, Rex, a sustainable and recyclable chair for start-up company Circuform, which has won a slew of prizes – including product of the year at the Dutch Design Awards. 

As we’ll hear, the product has a bit of history and is a piece that perhaps points the way forward for the furniture industry. 

In this episode we about about: splitting her time between two countries; being a ‘critical’ designer; working with recycled plastic; the history of her award-winning chair Rex and how it’s breaking new ground; why her parents didn’t want her to go to art school; giving up sculpture for design; moving to London in the ’90s; not being part of Droog; and her fascination with furniture.

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Darren Appiagyei is a wood turner and founder of inthegrain. The Camberwell College of Arts graduate made his name with vessels fashioned from the Banksia nut. Subsequently, he has gone on to create pieces from waste wood he finds on a local farm not far from his studio in London’s Deptford.  

He believes his work is ‘about embracing the intrinsic beauty of the wood; be it a crack, texture, knots or lack of symmetry’, adding that ‘it’s about allowing the wood to speak for itself and enabling the inner beauty of the wood to shine’.

His pieces have been included in shows such as 300 Objects during London Craft Week in 2020, Salon Art + Design at Park Avenue Armory in New York, and he had his first solo show at the Garden Museum in 2021. He will also be exhibiting with The New Craftsmen at this year’s Collect fair which runs at Somerset House from 3-5 March 2023. 

Darren is definitely one to watch. 

In this episode we talk about: how table tennis played a vital role in his career; learning to turn as a student; discovering the Banksia nut by chance; how he ‘collaborates’ with wood; his Ghanaian heritage; dealing with his mother’s mental health issues as a child; why wood became a form of therapy; and writing his memoir.

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Summer Islam is a founding director of Material Cultures, a not-for-profit organisation that in its own words ‘challenges the systems, technologies, processes, supply chains, regulations and materials that make up the construction industry with the aim of transforming the way we build’.

Currently, Summer has an installation in London’s Building Centre, along with her partners, Paloma Gormley and George Massoud. Homegrown: Building a Post-Carbon Future is notable for the large straw and timber structure at its heart. The trio has also published a new pocket-sized book, Material Reform, that attempts to set out the way we should build in the future, examining the ‘technification’ of architecture, our reliance on extractive processes, and investigating how we should build with biomaterials. 

It’s a fascinating, far reaching, read. 

In this episode we talk about: the philosophy behind Material Cultures; the problems with the construction industry and why it needs to change; being a ‘reformist’ rather than a ‘revolutionary’; disagreeing with Norman Foster on concrete; how biomaterials can simplify the way we build; factories as places of experimentation; the importance of repair; architects’ ‘arrogant’ use of timber; why straw is vital to our future; and putting Material Cultures’ ideas into practice. 

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Keith Brymer Jones is a potter, whose hand-made ceramics – which include the best selling Word Range – have been stocked in major stores, including Habitat, Laura Ashley and Heals. 

Over the years, he has been a ballet dancer, a front man in a nearly famous post-punk band, and a YouTube sensation. However, he is best known as a judge on the hugely popular The Great Pottery Throwdown, which is currently showing on Channel 4. 

His warm, and often confessional, autobiography Boy in a China Shop, is just out in paperback. It tells the story of a life that has seen him bullied at school, be attacked by a lion, and raise the roof at the Marquee Club. 

However, the thread that holds his story together is clay. 

In this episode we talk about: how it feels to throw a pot; discovering clay at school; how dyslexia shaped his career; auditioning for the Royal Ballet School; his relationship with his parents; drawing inspiration from Lucie Rie and Isaac Button; getting beaten up as a New Romantic; singing in a (nearly famous) band and getting played on Radio One; making pots in China; and becoming a TV star.

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Adi Toch is one of the world’s most fascinating metal artists, who over the years has buried her pieces for months on end before digging them up, and even made them react to sound. She has also taken part in collaborations with furniture makers and glass artists. 

Adi has work in the permanent collections of the V&A, The Fitzwilliam Museum in Cambridge, Ulster Museum in Northern Ireland, and the Jewish Museum in New York. She won a Wallpaper Magazine Design Award in 2017, and in that same year was a finalist of the Loewe Craft Prize. 

She has also exhibited around the world from the FOG Design + Art fair in San Francisco with Sarah Myerscough Gallery to Make Hauser & Wirth in Somerset.

In this episode we talk about: her extraordinary studio and sharing with two other leading metal artists; the relationships she has with different metals; her creative process and her use of ‘ghosts’; why the pandemic was hugely creative; her fascination with mirrors; how metal communicates through sound and ‘screams’; burying her pieces for months; growing up in Jerusalem; getting rejected initially from design school; and how the Gaza crisis has impacted on her identity. 

We’re delighted that this episode has been sponsored by the wonderful Sarah Myerscough Gallery. Established in 1998, the gallery represents a distinguished group of contemporary craft and design artists, specialising in material-led processes with a focus on wood and natural materials. It also curates a fascinating programme of exhibitions. To find out more go to: www.sarahmyerscough.com

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Peter Apps is a journalist and author, as well as the deputy editor of Inside Housing. His extraordinary, devastating new book, Show Me The Bodies: How We Let Grenfell Happen, looks at the evidence of the public enquiry into the circumstances leading up to, and surrounding, the fire at London’s Grenfell Tower on the night of 14 June 2017. 

Unpicking evidence heard over the course of 300 public hearings and 1600 witness statements, he paints a deeply disturbing picture of the historical, systemic, and practical failures that took the lives of 72 people, telling personal, tragic stories with a deep sense of empathy combined with journalistic rigour. 

Show Me The Bodies also shows in stark detail why materials – and the stuff that literally surrounds us and is usually specified for us – really do matter.

In this episode Apps illustrates: how combustible materials came to be wrapped around a 24 storey building; the relationship between big business and government; the role the Cameron administration’s austerity policy played in denuding vital services; and the mistakes that were made on the evening itself. He also asks how important the issues of class and race were to the disaster and describes Grenfell's  shocking aftermath. 

This isn’t an easy listen but it is vital.

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Rosalie McMillan and Adam Fairweather are co-founders of the materials, design and manufacturing house, Smile Plastics. They have a factory in South Wales which takes plastics and other materials traditionally classed as waste and transforms them into extraordinarily eye-catching, large scale, solid surface panels. Over the years, the company has worked with the likes of Stella McCartney, Christian Dior, Paul Smith, Selfridges and the Wellcome Trust to name just a handful. 

Interestingly, this is the second coming for the material. I first came across it in the mid-1990s, when it was created by the designer and educator, Jane Atfield, for her renowned RCP2 chair, a piece that is in the permanent collections of the V&A and the Crafts Council and which is currently included the Yinka Ilori show, Parables for Happiness, at the London Design Museum.

In this episode we talk about: the history of Smile Plastics; reviving the company in 2014 after it had closed four years earlier; how Adam and Rosalie started in a bomb shelter next to piles of compost; why the company was ahead of its time; the craft behind the material’s process; Adam’s early fascination with coffee waste; Rosalie’s other career in jewellery; their live/work balance; calling the factory’s machines Colin; and their ambitious plans for global growth.

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Aric Chen is general and artistic director of the Het Nieuwe Instituut, the Dutch national museum for architecture, design and digital culture in Rotterdam. 

During one of those careers that makes you wonder what on earth you’ve been doing with your time, he has also been creative director of Beijing Design Week, lead curator for design and architecture at M+ in Hong Kong, curatorial director of the Design Miami fairs in Miami Beach and Basel, and professor and founding director of the Curatorial Lab at the College of Design and Innovation at Tongji University in Shanghai.

As a result, he has a genuinely global perspective of the design industry. 

In this episode we talk about: the Instituut’s new show that looks at design and energy; issues around decarbonising the grid; his problem with design manifestos; how the Instituut is becoming a ‘Zoop’ and giving non-humans a voice (you read that right); providing agency to microbes; making new ideas visible; why he didn’t become an architect; his first job in PR; the relationship between journalism and curating; the similarities between the US and China; and how the Instituut will curate next year’s London Design Biennale. 

(For various reasons – mainly to do with microphones being held up in EU customs – the sound on this episode isn't up to our usually quality. Apologies but, frankly, I'm blaming Brexit.)

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Professor Rebecca Earley is a design researcher and award-winning team leader at University of the Arts London and is based at Chelsea College of Arts where she is Professor of Circular Design Futures. 

Initially, she trained as a printed textile designer before creating her own fashion label, B.Earley, in 1995. Her prints and garments have been commissioned by the likes of Bjork and Damien Hirst. They are also in the collections of the V&A and the Pitt Rivers Museum in Oxford. 

More recently though, she has carved a global reputation as one of the leading thinkers around the need for fashion to become circular. Projects include HEREWEAR, which investigated how bio-based agricultural waste could be turned into material for locally-made clothing and TRASH2CASH that brought designers together with scientists to find ways to regenerate waste cotton and polyester. Not only that but she also co-founded World Circular Textiles Day in 2020.

In this episode we chat about: how she started using polyester and why it’s a problematic material; idealism versus pragmatism and transition rather than revolt; the value system we build around materials; discovering textile design by chance; empowering women through the education system; circularity’s relationship with the market; designing systems; the importance of people; and her love of wild swimming.

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As a special preview to Material Matters 2022, launching from 22-25 September at Bargehouse, Oxo Tower Wharf, we meet one of the stars of the fair. 

Benjamin Hubert is an industrial designer and founder of LAYER, the experience design agency that has worked with the likes of Airbus, Bang & Olufsen, Braun and Moroso, to name just a handful. The practice is celebrating the launch of its new monograph with an exhibition at the show. The book, written by Max Fraser and published by Phaidon, traces Benjamin’s journey from graduate designer to establishing and, subsequently, expanding his own studio. In the process, it sheds light on the business of design and what it takes to create a successful practice. 

Don’t worry though there is plenty on the importance of materials here too.

In this episode we talk about: how his practice fared during the pandemic; why he’s publishing a monograph now; how his process includes the use of watercolours; creating LAYER and a controversial speech in South Africa; expanding his portfolio from designing furniture to creating apps; the importance of making and painting as a child; being driven to succeed; having a thick skin and learning to accept rejection; working in 3D knitting; taking online abuse. 

It’s a fascinating listen. 

To visit Material Matters 2022, it’s really important register at this link before you arrive: https://www.eventbrite.co.uk/e/material-matters-2022-tickets-373171364597

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Hannah and Justin Floyd are the creators of an intriguing material, called SolidWool. The composite is made up of wool, which is used as the reinforcement, and bio-resin that acts as a binder. 

The wool itself comes from the Herdwick sheep found in the Lake District that was once a staple of the carpet industry but which has recently fallen out of vogue. According to the Floyds, some farmers have taken to burning fleeces because they were fetching next to nothing on the open market. So instead, they set about finding a new use for something increasingly considered as waste and imbuing it with value. 

The finished result is beautifully smooth and probably best compared to fibreglass. When Grant first came across the duo at a show in Milan almost a decade ago, they were displaying a range of items made from the material, including: knives, sunglasses, a table and, perhaps most importantly, the extremely elegant Hembury Chair. 

After a serious health scare, the pair sold their company to Roger Oates Design in 2020. It put a new version of the Hembury back into production, with Justin staying on as a consultant. 

In this episode we talk about: how SolidWool is made; the importance of beauty; issues with Herdwick wool; taking inspiration from where they lived; the desire to produce ‘products with purpose’; the importance of play; why designers love chairs; working together; overcoming cancer; selling the company; and Justin’s unfinished business with SolidWool.

And a reminder that to visit Material Matters 2022, which runs at Bargehouse, Oxo Tower Wharf from 22-25 September you need to register here: https://www.eventbrite.co.uk/e/material-matters-2022-tickets-373171364597

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Simon Hasan made a name for himself when he graduated from the Design Products course of the Royal College of Art in 2008 with a collection of pieces made from Cuir Bouilli or boiled leather, an ancient material that was used to make medieval armour. 

The collection made quite a splash and, subsequently, he worked on a number of projects such as Craft Punk, during the Milan Design Week in 2009, the Designer in Residence Programme at the Design Museum and the Vauxhall Collective. 

His work embraces different scales from furniture to accessories and more recently, he has collaborated with the likes of Kvadrat, Another Country, Linley and Chloe. Simon has received two Wallpaper Design Awards and he has pieces in the permanent collections of the Crafts Council and the Fondazione Fendi. 

He taught for many years at the RCA and is currently Furniture and Product Design Course leader at London Metropolitan University.

In this episode we talk about: the history of Cuir Bouilli; why he alighted on the material in the first place; his fascination with Dutch design; being the 'odd one out' at the Royal College of Art; never wanting to make life easy for himself; the relationship between craft, industry and fashion; working in the advertising industry before discovering design; failing to apply himself at school; collaborating with global brands; and why teaching is so important to him.

And a reminder that to visit Material Matters 2022, which runs at Bargehouse, Oxo Tower Wharf from 22-25 September you need to register here: https://www.eventbrite.co.uk/e/material-matters-2022-tickets-373171364597

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Michael Young is a world renowned product designer who initially made his name in London during the mid-90s, and quickly found himself working for significant brands, including Magis and Rosenthal. 

After a sojourn in Iceland, he traversed the globe and set up his practice in South East Asia. Over the years, his portfolio has become wildly eclectic. Young has designed furniture for Coalesse, speakers for KEF, suitcases for Mon Carbone, and bikes for Giant. He has also re-imagined the Mini Moke,  created his own beer brand, and produced gallery pieces to boot.

In this episode we discuss: living and working around the world during the pandemic; managing a global practice in Hong Kong; launching a beer brand aimed at creatives; his fascination with making and how it informs his process; learning from Tom Dixon; redesigning the Mini Moke; being an ‘explorer’; copying in China; being diagnosed with dyslexia and the impact it has on creativity; the role Sir Terence Conran played in his nascent career; developing a thick skin; oh and why he hasn’t yet designed a comfortable sofa. 

And a reminder that to visit Material Matters 2022, which runs at Bargehouse, Oxo Tower Wharf from 22-25 September you need to register here: https://www.eventbrite.co.uk/e/material-matters-2022-tickets-373171364597

It’s going to be great!!

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