In this interview Nick Rennie of Happy Finish Design talks about the challenges of setting up his own studio, showing work at trade shows, his inspirations and developing relationships with manufacturers.
Highlights
- “I feel that by getting your work out there is the best way to promote you as a brand, and to open up the opportunity to work with manufacturers you may not have had exposure to, prior to that time”
- “For me there is really only one major concern. and that is, that I believe in the company that will produce my work.”
- “Australia is probably one of the worst regions in the industry to work. We have almost no manufacturing industry here, so trying to make a living is almost impossible.”
1. Nick, Welcome to Design Droplets. Thank you for taking the time to talk with me, could you please give me a quick introduction on yourself.
I am a product designer specialising in furniture and lighting, based in Melbourne, Australia. I work mainly with companies based in Asia and Europe, but also collaborate with certain Australian based manufacturers as well.
2. You founded Happy Finish Design in 2001/2002, can you tell me a bit about some of the challenges of establishing your own design studio?
I guess the hardest part, was the fact that at the time there were very few local manufacturers looking to work with new designers. As a result I decided that I would try and base myself in Australia but look to work with international companies instead. Whilst good in theory this takes a lot of time, energy, but most importantly luck. I had solo exhibitions in Milan as part of salone satellite in 2002, 2003, 2004. this was very important in my development and exposure as a designer, but also extremely costly and draining
Chiku Porro
3. You show your work on the international stage via design fairs and exhibitions, what three key things do you believe designers need to consider if they are looking to show their wares at these types of events?
Firstly that once its in the public domain, its basically public property. So make sure that you are either protected or aware of the legalities involved in this. Each area of the world is different, and you may need to protect the designs in multiple areas, at great cost.
Secondly to not be afraid. I feel that by getting your work out there is the best way to promote you as a brand, and to open up the opportunity to work with manufacturers you may not have had exposure to, prior to that time.
And finally that you have to look at this as a long term project rather than a one time smash and grab. You need to invest time and money in to people and manufacturers trusting you as a designer.
Hotbed Table
4. Can you tell me a bit about the typical process you go through to create products?
It works on two levels.
Firstly as self initiated projects, which are basically ideas that pop in to my head.
Secondly if a client approaches me to design something, then I already have a brief and an end result in mind. This is much more structured and has a definitive outcome.
The process for both, are very much the same though. Once an initial idea is formed, its basically researching on the internet to make sure there is nothing similar. I find the best websites are stylepark and architonic. (These are both great databases of current products). Then its just working through the details, until I am happy with the final form. Making mockups, renderings etc, until I am ready to present
Idee Chair
5. You do a fair bit of prototyping and manufacturing of your products overseas, what are your thoughts on creating lasting and successful relationships with overseas manufacturers?
The most important part about working as a designer, are the relationships you have with the people in the industry. A design is only part of the equation. I have spent the last ten years travelling to Milan and Japan, with the main emphasis on creating and nurturing relationships within the industry. I have found that a company is more willing to collaborate with someone they trust, than an unknown entity. I guess when it comes down to it, its all about trust. And this I feel is the only thing that is important when working with someone. They trust in your ideas and originality and you trust the fact that they will produce your product to the highest standard. Initially though, there can be a leap of faith on both or one side, and this is also something to take in to consideration.
Mushroom Light
6. You sell your designs around the globe, what things do you believe designers need to consider when they are looking to export their wares?
For me there is really only one major concern. and that is, that I believe in the company that will produce my work.
Know that you may get burnt by some people, but don’t let this hold you back. the companies that I deal with, have all been fantastic.
Although there is another major problem to be aware of.. and that is the industry of design copies or rip offs… But that is just as likely to take place in Australia as any other conutry
Cubrick Storage Units
7. Which creative people are you inspired by? And why?
Locally Helen Kontouris is number one. We have travelled together for a long time now, heading to the main shows, and its fantastic to have someone in the same position as me. Our success and failures continually drive each other in. There is infact a great little community of Australian designers I find really inspirational. Adam Goodrum, Simone LeAmon, Jim Moody, Lucas Chirnside, Thomas Coward, and I bunch more I cant think of right now.
Internationally, I am lucky to have made some great friends with similar designers in japan. Jin Kuramoto, Teru Yanagihara, Yusuke Seki, Hiro Tsuboi to name a few. This is my Japanese family and their work and enthusiasm continues to inspire.
From the famous designers, Jasper Morrison, Konstantic Grcic, Sam Hecht, Naoto Fukasawa, Ronan & Erwan Bouroullec and Tokujin Yoshioka,
I like simple designs, nice, clean and well thought out. I find these designers the best proponents of this style.
Spoon Daybed
8. What are your thoughts on the current state of Australian Design?
I think it is now in an incredibly healthy position. When I first went away to Milan in 2000, the only Australian designer anyone knew was Marc Newson. Now you could go to all the major manufacturers and they could name two or three more. Last year was a massive year for aus designers with major international manufacturers. The quality of work is world class, and I think the new generation is going to really make its mark.
It can however always improve.
Squash Bowl
9. What was the hardest part of getting to where you are now?
Where do I start???
Ill divide this up in to two parts.
Firstly the continual belief in that this is what im supposed to do. And sacrificing pretty much everything in the pursuit of this dream.
Secondly the financial side of things. Unfortunately, Australia is probably one of the worst regions in the industry to work. We have almost no manufacturing industry here, so trying to make a living is almost impossible. An example is that for me, the best three furniture designers based in Australia, don’t actually make a living from royalties.
Twist Bowl
10. Nick, thank you for taking the time to talk with us here at Design Droplets. Do you have any final thoughts or advice for Design Droplets readers?
Just to continually support Australian design. If you have the choice of a local or internationally designed product. try and go local.
And finally and probably most importantly buy original products, NOT inferior copies.
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