ONLINE STORE
JOIN THE MAILING LIST
CONSULTANCY
Design Glut's in-house product design studio is known for our line of intelligent, socially-relevant products. We also provide innovative design solutions to outside clients. Learn more.
LATEST NEWS
November 19, 2008
NEW PRODUCTS
Check out the online store for new products by Design Glut! We've launched the World Links necklace, which has the continents of the world connected by links of chain around your neck. And our new Cubic Switchplates play tricks with your eyes. They're only 3mm deep, but it looks like they're protruding inches off the wall.
October 14, 2008
NEW ONLINE STORE AND PRESS
We just redid our online store to make it easier for our customers. The new layout is simpler to browse and has some additional functionality. Fancy Schmancy! We also have new press to report: Elle Decoration, Max, and 5 Au Clock.
September 21, 2008
NEW PRESS AND STORES
The October issue of Metropolitan Home covers the Slow Food Tray as part of a group of products using words as decoration. We also have three new stores: Spring and Stewart and Stand here in NY, and Composition in Colorado.
September 2, 2008
NEW PRESS: SURFACE
The new edition of Surface reports of the trend of designers "using oil as fuel for thought." Crude Black is included.
August 22, 2008
NEW PRESS: DFUN
The Crude Jewelry was just featured as the cover story in the current issue of DFUN, a Taiwanese fashion and design magazine.
July 15, 2008
NEW PRESS: WALLPAPER
The August '08 issue of Wallpaper is hitting newsstands right now. Check out the interviews with "NYC's new design wave": Todd Bracher, Design Glut, Takeshi Miyakawa, and Test Collective.
July 10, 2008
NEW PRESS: WATCH
The Smoking Gun was just featured in the latest edition of Watch.
July 9, 2008
ABOUT DESIGN GLUT
We’ve expanded the About Us area - check it out to get a better feel for who we are and what we do.
June 30, 2008
NEW PRESS: MAX
The fashion magazine Max just published a great-looking piece on Crude Black. We can't actually read it, but we're hoping they said nice things.
June 23, 2008
SMOKING GUN NECKLACE
The Smoking Gun is now available on a chain! It makes one pimped out necklace.
RECENT PRESS
STORE LOCATIONS
NEW ARTWORK
WHAT'S YOUR STORY?
Are you a creative entrepreneur? Tell us your story. If it's a good fit for the site, we'd love to interview you.
ALL INTERVIEWS
(Alphabetical)
• Brad Ascalon
• Brooklyn Salsa Company
• byAMT
• Cake
• Character
• Citizen:Citizen
• Curatorium
• Diaroogle.com
• Domestic Aesthetic
• Exit9
• FuckOffSarahPalin.com
• Harry Allen
• Mint
• Nooka
• NOTCOT.com
• Pomp&Clout
• redstr/collective
• Reiko Kaneko
• Robert Langhorn
• Skinny Vinny
• Sonic Design
• Supermarket
• Swiss Miss (upcoming)
• Todd Bracher
• TZ Design
MONTHLY ARCHIVE
• July 2008
• August 2008
• September 2008
• October 2008
• November 2008
Subscribe to
Posts [Atom]
ALL INTERVIEWS
(Alphabetical)
• Brad Ascalon
• Brooklyn Salsa Company
• byAMT
• Cake
• Character
• Citizen:Citizen
• Curatorium
• Diaroogle.com
• Domestic Aesthetic
• Exit9
• FuckOffSarahPalin.com
• Harry Allen
• Mint
• Nooka
• NOTCOT.com
• Pomp&Clout
• redstr/collective
• Reiko Kaneko
• Robert Langhorn
• Skinny Vinny
• Sonic Design
• Supermarket
• Swiss Miss (upcoming)
• Todd Bracher
• TZ Design
MONTHLY ARCHIVE
Subscribe to
Posts [Atom]
July 31, 2008
Rae Dylan of Character
Character is a little shop in Nolita, full of strange oddities that can't help but make you smile. Its merchandise ranges from nostalgic childhood objects, such as the Little Prince, and Tin Tin lunch boxes, to high end design. Much of the work in the shop has a story behind it, and if you linger for just long enough, they'll be sure to tell you. Keep reading to hear Rae, the store manager, explain to us why the person behind the design, they story, is just as important as the object itself.
Character
19 Prince Street
NY,NY
212.274.1966
www.characternyc.com
When did Character open, and how did it start?
Character started in 1999. It was at that time that all the European character work was coming out. We were bringing things over from Belgium- Tintin, Astrix, The Little Prince, I'm sure you remember. The current owner bought the store in 2004, and wanted to put a different spin on it. At that point the store became much more design oriented. We focused on up and coming designers, current events, and really the celebration of fantastic ideas. It became much less about the traditional definition of a character, and more about the character of an , its personality, the story of how it came to be. I think the word character is the one thing which really connects the store- from the products we carry to the staff and designers. There's nothing that cant be seen or done here.
What do you look for when you bringing new product into the store?
We don't like to put limits on what product we bring in, it just has to be good. Obviously, as you see, we have a little bit of everything. You can find anything from a baby gift to a bad ass necklace. We look for products that aren't trend driven, but rather unique and creative, that catches peoples eyes - conversation pieces. Our customers tend to be more interested in the intellectual pieces, as well as the stories of the designers behind them. Obliviously if a product doesn't work with the clientèle, I can't do anything about it, but we're always looking for work with a story- objects that people can connect to.
Do you have a typical customer?
There are a wide variety of people that come into the store. The clients vary depending on who's working, the music, the weather, the specific time of day - I'm generalizing - but our product range is so vast you can't really typify a customer.
For example, I know that my older clientèle comes in the early morning, on Saturday we're going to be rocking out playing music and giving out free condoms, and if there is going to be a little granny in the store on Sunday, well I certainly still don't want to have bowls of condoms out. All three of us that work here, Adam, Tyler, and myself all have a very different personalities, and as a result, we draw in very different customers.
You've talked about connecting people in the store to the staff, as well as products, do you think it is important for the customer to be able to connect to the designer behind the piece?
I think it's critical for us to be able to present the designer as well as know their work. This is especially true with the local designers. Customers love it when you can tell them the product there buying was made by someone based in Brooklyn. The locality makes the work much more tangible.
Have you noticed any current buying trends?
Summer is a very interesting time because we have a lot of tourists. This year its been people from Mexico and California, less Europeans. The trends change with the demographic. In the last three weeks we've sold a lot of jewelry and mirrors. The Harry Allen mirrors in particular are doing particularly well.
How does display and packaging of a product affect the sales?
The placement of a product in the store is extremely important, and was a big part of my professional career in merchandising. When people first walk into the store, especially if it's empty, they're going to be a little trepidacious. We like to place relaxing, inviting items near the front of the store - work which is easy to grasp and will draw people further in. I also like to create narrative with some of the smaller items, place them in glass cases, use putty to stand the product up, it makes them more visually engaging.
What is your favorite object in the store and why?
I have the pieces that I've always loved, and had for a while. I love the Harry Allen mirrors, but every product in here is really a favorite of mine, I wouldn't keep ordering it, or work on selling it, if I didn't believe it was great. I'm very selective about what we carry, simply because if I'm not passionate about an object, I certainly can't sell it.
Continue Reading....
Character
19 Prince Street
NY,NY
212.274.1966
www.characternyc.com
When did Character open, and how did it start?
Character started in 1999. It was at that time that all the European character work was coming out. We were bringing things over from Belgium- Tintin, Astrix, The Little Prince, I'm sure you remember. The current owner bought the store in 2004, and wanted to put a different spin on it. At that point the store became much more design oriented. We focused on up and coming designers, current events, and really the celebration of fantastic ideas. It became much less about the traditional definition of a character, and more about the character of an , its personality, the story of how it came to be. I think the word character is the one thing which really connects the store- from the products we carry to the staff and designers. There's nothing that cant be seen or done here.
What do you look for when you bringing new product into the store?
We don't like to put limits on what product we bring in, it just has to be good. Obviously, as you see, we have a little bit of everything. You can find anything from a baby gift to a bad ass necklace. We look for products that aren't trend driven, but rather unique and creative, that catches peoples eyes - conversation pieces. Our customers tend to be more interested in the intellectual pieces, as well as the stories of the designers behind them. Obliviously if a product doesn't work with the clientèle, I can't do anything about it, but we're always looking for work with a story- objects that people can connect to.
Do you have a typical customer?
There are a wide variety of people that come into the store. The clients vary depending on who's working, the music, the weather, the specific time of day - I'm generalizing - but our product range is so vast you can't really typify a customer.
For example, I know that my older clientèle comes in the early morning, on Saturday we're going to be rocking out playing music and giving out free condoms, and if there is going to be a little granny in the store on Sunday, well I certainly still don't want to have bowls of condoms out. All three of us that work here, Adam, Tyler, and myself all have a very different personalities, and as a result, we draw in very different customers.
You've talked about connecting people in the store to the staff, as well as products, do you think it is important for the customer to be able to connect to the designer behind the piece?
I think it's critical for us to be able to present the designer as well as know their work. This is especially true with the local designers. Customers love it when you can tell them the product there buying was made by someone based in Brooklyn. The locality makes the work much more tangible.
Have you noticed any current buying trends?
Summer is a very interesting time because we have a lot of tourists. This year its been people from Mexico and California, less Europeans. The trends change with the demographic. In the last three weeks we've sold a lot of jewelry and mirrors. The Harry Allen mirrors in particular are doing particularly well.
How does display and packaging of a product affect the sales?
The placement of a product in the store is extremely important, and was a big part of my professional career in merchandising. When people first walk into the store, especially if it's empty, they're going to be a little trepidacious. We like to place relaxing, inviting items near the front of the store - work which is easy to grasp and will draw people further in. I also like to create narrative with some of the smaller items, place them in glass cases, use putty to stand the product up, it makes them more visually engaging.
What is your favorite object in the store and why?
I have the pieces that I've always loved, and had for a while. I love the Harry Allen mirrors, but every product in here is really a favorite of mine, I wouldn't keep ordering it, or work on selling it, if I didn't believe it was great. I'm very selective about what we carry, simply because if I'm not passionate about an object, I certainly can't sell it.
Continue Reading....
July 30, 2008
Scot Spratford of Make and Cake
Make is a product design consultancy run out of Red Hook, Brooklyn. Cake is their quirky counterpart; the designers' creative outlet for their own ideas and products. We sat down with one of the founders and listened to his story. We love how diverse these two companies are, with a portfolio that includes both a shelf derived from department-of-defense technology and chrome gnomes.
Cake/Make
160 Van Brunt Street
Brooklyn, NY 11231
718.797.9182
Cake
Make
How did the group of you start working together?
Originally there were five of us - we all met at Pratt during grad school. After school most of us were freelancing. In 2000, Kevin got a project from a housewares client. It was too big to handle alone, so he assembled the group. We got together, once or twice a week, ate pizza in our living rooms and developed twelve products to pitch to the client. We hoped they would pick one or two to go forward with, but they ended up picking ten!
All of a sudden we had a whole new set of problems. They were paying us, but we had a huge about of work to do and didn't have a real work space. So we moved here. It was good timing, Red Hook was was just turning, and we got 5000 square feet. Make was officially a business.
What led you to form Cake?
We started consulting for housewares companies, but we were also coming up with ideas on our own. Cake became our outlet for our own products. We decided to do shows, and went to ICFF with prototypes. We didn’t completely know what we were doing, you never do... Our consultancy work was very mass market focused, while the pieces for Cake are meant to sell in boutiques, and are inspired by form exploration and various things we like. Cake is about pieces that are fun for us. It’s the type of thing that can go into hibernation for a while, but new people will continue to discover it and love it.
As far as Make goes, who was your first big, breakthrough client?
Well, obviously there was the client which led us to form Make... But another big breakthrough client was a guy who had an aerospace company in New Jersey. He’d gotten a DARPA contract to develop a technology that allowed people to climb up walls like Spiderman. After the technology was proved to work, he had an idea for a soap dish utilizing the same pressure/suction system. He brought us this really scary contraption, which we though was pretty cool, and we ended up expanding it into a whole line of home products.
We helped name the company, worked on packaging, really everything. The end product was this modular bathroom system where the starter piece retailed around 16 dollars. He ended up selling a few hundred thousand pieces. I’m pretty sure it’s still available at Linens’N’Things and Home Depot.
What has been the biggest challenge you’ve had to overcome?
Getting new clients is a big one. You have to constantly be out there, finding new business, in order to keep it all going.
Do you have any advice for designers looking to band together and start something?
You have to be tenacious, get out there, be on the phone, and follow up – in a nice way. Talk to people. If you send in your resume, follow up with a phone call. I get stuff all the time; I just don’t have to time to get back to everyone. You also can’t get discouraged. People are going to reject you – you’ve need to get past that. Develop a thicker skin.
Continue Reading....
Cake/Make
160 Van Brunt Street
Brooklyn, NY 11231
718.797.9182
Cake
Make
How did the group of you start working together?
Originally there were five of us - we all met at Pratt during grad school. After school most of us were freelancing. In 2000, Kevin got a project from a housewares client. It was too big to handle alone, so he assembled the group. We got together, once or twice a week, ate pizza in our living rooms and developed twelve products to pitch to the client. We hoped they would pick one or two to go forward with, but they ended up picking ten!
All of a sudden we had a whole new set of problems. They were paying us, but we had a huge about of work to do and didn't have a real work space. So we moved here. It was good timing, Red Hook was was just turning, and we got 5000 square feet. Make was officially a business.
What led you to form Cake?
We started consulting for housewares companies, but we were also coming up with ideas on our own. Cake became our outlet for our own products. We decided to do shows, and went to ICFF with prototypes. We didn’t completely know what we were doing, you never do... Our consultancy work was very mass market focused, while the pieces for Cake are meant to sell in boutiques, and are inspired by form exploration and various things we like. Cake is about pieces that are fun for us. It’s the type of thing that can go into hibernation for a while, but new people will continue to discover it and love it.
As far as Make goes, who was your first big, breakthrough client?
Well, obviously there was the client which led us to form Make... But another big breakthrough client was a guy who had an aerospace company in New Jersey. He’d gotten a DARPA contract to develop a technology that allowed people to climb up walls like Spiderman. After the technology was proved to work, he had an idea for a soap dish utilizing the same pressure/suction system. He brought us this really scary contraption, which we though was pretty cool, and we ended up expanding it into a whole line of home products.
We helped name the company, worked on packaging, really everything. The end product was this modular bathroom system where the starter piece retailed around 16 dollars. He ended up selling a few hundred thousand pieces. I’m pretty sure it’s still available at Linens’N’Things and Home Depot.
What has been the biggest challenge you’ve had to overcome?
Getting new clients is a big one. You have to constantly be out there, finding new business, in order to keep it all going.
Do you have any advice for designers looking to band together and start something?
You have to be tenacious, get out there, be on the phone, and follow up – in a nice way. Talk to people. If you send in your resume, follow up with a phone call. I get stuff all the time; I just don’t have to time to get back to everyone. You also can’t get discouraged. People are going to reject you – you’ve need to get past that. Develop a thicker skin.
Continue Reading....
July 29, 2008
Reiko Kaneko
Reiko Kaneko is a young lass from England, most known for her Soldier Egg Cup holder, and her mischievous, surreal product design. Reiko graduated in 2005, and is already a mover and shaker. I have a feeling we'll be seeing a lot of her in the years to come.
Reiko Kaneko
www.reikokaneko.co.uk/
Where did you go to school, for what, and when did you graduate?
I went to Central Saint Martins, and graduated in 2005.
How did you transition from design school into the world of manufacturing and selling objects?
The real starting point for me was being approached by Beyond the Valley, a London boutique store promoting offbeat and graduate designs. They took my handmade products on - notably the Egg soldier cup. I used to line up the little soldiers and nearly poison myself with the resin fumes to put them together at home.
To my huge surprise, they sold well which got me thinking; perhaps I could do this whole manufacturing and selling business. Finding manufacturers was the hardest thing but steady part time work kept me going.
I met you at ICFF this year, where you had a table in the Designboom Mart. How did coming to NY for the show benefit you?
The mart was a great experience - there was a real buzz about that little area of the trade show. It was beneficial in terms of retail contacts as well as meeting great people whose work I've always admired.
How has the Internet helped you, as an indie designer?
It's a massive help. Selling directly to individual customers is great. Online blogs also up your web presence, work as a public portfolio, and put great retailers in touch.
What are three pieces of advice you would give to new designers looking to start manufacturing and selling their products?
Stick with it if you decide to go the whole hog. Start small and don't overstock. And don't watch TV.
Continue Reading....
Reiko Kaneko
www.reikokaneko.co.uk/
Where did you go to school, for what, and when did you graduate?
I went to Central Saint Martins, and graduated in 2005.
How did you transition from design school into the world of manufacturing and selling objects?
The real starting point for me was being approached by Beyond the Valley, a London boutique store promoting offbeat and graduate designs. They took my handmade products on - notably the Egg soldier cup. I used to line up the little soldiers and nearly poison myself with the resin fumes to put them together at home.
To my huge surprise, they sold well which got me thinking; perhaps I could do this whole manufacturing and selling business. Finding manufacturers was the hardest thing but steady part time work kept me going.
I met you at ICFF this year, where you had a table in the Designboom Mart. How did coming to NY for the show benefit you?
The mart was a great experience - there was a real buzz about that little area of the trade show. It was beneficial in terms of retail contacts as well as meeting great people whose work I've always admired.
How has the Internet helped you, as an indie designer?
It's a massive help. Selling directly to individual customers is great. Online blogs also up your web presence, work as a public portfolio, and put great retailers in touch.
What are three pieces of advice you would give to new designers looking to start manufacturing and selling their products?
Stick with it if you decide to go the whole hog. Start small and don't overstock. And don't watch TV.
Continue Reading....
July 25, 2008
Can design change the world?
Design can only change the world if it leaves the small circle of design-community intellectuals and reaches the people it is meant to help. That abandoned project in your portfolio probably won't change anything. Neither will a lovely rendering, all by itself. If there's one thing that I've learned, it's that change requires hard work, hard deadlines, real objects and the building of complex organizational structures.
A year and a half ago, Liz Kinnmark and Kegan Fisher founded Design Glut, with little experience and lots of guts and idealism. It's been a whirlwind experience. After four years of receiving design education, we could talk about form and and gesture and concept until we were blue in the face. But when it came to putting our own designs into production, and building a business structure, the language was often foreign.
What is a purchase order? How about a Tax ID numbers? What does C.O.D. mean? The list goes on... We quickly realized how ignorant we were about basic business. It would have been great if there were a resource to get us up to speed, we thought. And the more we thought about it, we realized since it wasn't out there, we should make it.
We hope to inspire others to build the architecture necessary to turn their own dreams into actions. Designglut.com is our way of taking a step forward to strengthen the community of design-driven entrepreneurs. We know we are not the only ones trying to figure this stuff out, trying to create a niche in the marketplace and trying to positively influence people through functional, accessible objects.
The site will be updated frequently with interviews and editorials. It will include conversations with innovative design firms and consultancies, owners of design boutiques across the country, and little-known designers starting to make waves. In addition, we are compiling industry events, covering those we attend, and writing about the lessons that we've learned in our experience starting Design Glut.
Our first week of interviews includes discussions about running a successful design consultancy (with Klaus Rosburg of Sonic Design), why Italian furniture manufactures really aren’t that scary (with Brad Ascalon of Brad Ascalon Studio NYC), and insights into the Do's and Don'ts of approaching design boutiques (with Matt Bird of the Curatorium).
Welcome to the newest network of designers contributing their stories, and sharing knowledge of what it takes to thrive, today, in the design economy. In order to best push this resource in a useful direction, we would love to hear your thoughts and suggestions on the matter. Don't hesitate to leave a comment or send an email. Designglut.com is now a resource for you.
Continue Reading....
A year and a half ago, Liz Kinnmark and Kegan Fisher founded Design Glut, with little experience and lots of guts and idealism. It's been a whirlwind experience. After four years of receiving design education, we could talk about form and and gesture and concept until we were blue in the face. But when it came to putting our own designs into production, and building a business structure, the language was often foreign.
What is a purchase order? How about a Tax ID numbers? What does C.O.D. mean? The list goes on... We quickly realized how ignorant we were about basic business. It would have been great if there were a resource to get us up to speed, we thought. And the more we thought about it, we realized since it wasn't out there, we should make it.
We hope to inspire others to build the architecture necessary to turn their own dreams into actions. Designglut.com is our way of taking a step forward to strengthen the community of design-driven entrepreneurs. We know we are not the only ones trying to figure this stuff out, trying to create a niche in the marketplace and trying to positively influence people through functional, accessible objects.
The site will be updated frequently with interviews and editorials. It will include conversations with innovative design firms and consultancies, owners of design boutiques across the country, and little-known designers starting to make waves. In addition, we are compiling industry events, covering those we attend, and writing about the lessons that we've learned in our experience starting Design Glut.
Our first week of interviews includes discussions about running a successful design consultancy (with Klaus Rosburg of Sonic Design), why Italian furniture manufactures really aren’t that scary (with Brad Ascalon of Brad Ascalon Studio NYC), and insights into the Do's and Don'ts of approaching design boutiques (with Matt Bird of the Curatorium).
Welcome to the newest network of designers contributing their stories, and sharing knowledge of what it takes to thrive, today, in the design economy. In order to best push this resource in a useful direction, we would love to hear your thoughts and suggestions on the matter. Don't hesitate to leave a comment or send an email. Designglut.com is now a resource for you.
Continue Reading....
July 24, 2008
Klaus Rosburg of Sonic Design
Liz and I met Klaus Rosburg of Sonic design when he was unassumingly pacing back and forth in front of his wall of cuckoo clocks during ICFF. Little did we know about Sonic design - the consultancy he built from the ground up; or the wide range of work he’s completed for a series of high profile clients, most notably, the Target ClearRX prescription System included in MoMA’s permanent collection. Read on for insight into the man behind the medicine bottle, the green ketchup packaging, and a whole lot of other mass market, but you never though to ask who did it, designs.
Sonic Design
181 North 11 Street
Brooklyn, NY 11211
(718) 387-7927
www.sonicny.com
How did you get into design?
Growing up, my dad had a shop at home. He built anything and everything in that house, which meant that we always had all these tools around. Eventually I started to build things too – a bicycle, a trailer, a tandem, tree houses, another tandem. One day I saw a report on TV for a guy that designed a chainsaw, I thought – I could do that too, so I went to school for it.
What prompted you to make the switch from employee to self-employed?
In Germany I worked for Interform- it was a small studio with eight people. Actually, they we’re pretty big until Frog came around. Interform hired me because the boss wanted someone fresh and unspoiled, who wasn’t already a part of the machine. It was good money and a lot of responsibility. I was writing proposals, doing business development, presentations – not a lot of design. After five years with them I couldn’t handle the stress, I needed to get out, so I took six months and came here. I joined another commercial office, did five more years, and then started Sonic. I wanted to run a firm that was young, fresh, dynamic, and creative, with no one telling me what to wear.
And your first clients were…
My first client was one I took over form the company I left. That’s how most people start. Though it was harder having come from Germany – I didn’t have any connections to start with. The client was this noise cancellation company – they’d liked my work, but things had gotten messy with them and my previous employer, and they’d bailed. When I called them up and said I’d started my own company, they started giving me work. After that I freelanced. I had my own company but no clients, so I did subcontracting for the big brand agencies- a lot of structural packaging. Frog, Ideo, Smart – worked for all of them.
Who would you consider your biggest – breakthrough client?
I would say its probably Target. The prescription drug bottle I did made it into MoMA's permanent collection while I'm still alive. I had already quite a few awards on my belt including IDEA Silver for Heavy Equipment and Medial Design, but the bottle was all over the press. If you want to know the story…
We want to know.
"Well this is the original design," Klaus says pointing to a D-shaped bottle. Deborah Adler, a student at the time, had a grandma who'd miss medicated. She took the wrong pill because she couldn't see the label clearly. Deborah then had the idea to come up with a flat and color-coded label system, making the bottle easier to read.
She pitched her idea to Target – but people didn't like the look, nor was the bottle closure child-resistant, so I got brought in and proposed to design a new bottle from scratch.
I worked with three people for six weeks developing a new medication and labeling system for Target. The biggest innovation was the label that went over the top. It streamlines the pharmacy operation so they're just dealing with one sticker – not six. I met Deborah only after we presented our revolutionary up-side-down bottle to the project team. Target called me up one day and told me she was coming over to see the design, and that she was going to be involved in the graphics. Things moved forward, we dealt with manufacturing – and the bottle went into production.
After it came out, I saw a Target advertisement in Vanity Fair with photos of my bottle and Deborah, describing the entire design and shape as her invention. Target pushed the story of the sick grandma and student inventor hard and the bottle was all over the press. She was on national TV and public radio and if I was mentioned at all, I was credited for turning her bottle up side down. I start calling people, the magazine, Target, telling them that I was the designer of the bottle – it was really just a mess. I can't even tell you how many letters I've written to various publications trying to get credit for my work – some of them listen.
Eventually, after I made enough noise, Target called and told me, in fewer words, that I'd get fired if I kept talking to the press. They wanted me to be the ghostwriter for the product, and for the girl with the story to be the hero.
Of course now that I'm looking back at my career, this is just one of many projects, awards and patents. And I am quite pleased that the MOMA gave me full credit for designing the bottle.
What has been your favorite object you designed?
I did a home security system. It was for this start up company – four guys. They really respected me, and what I did. Once they even bought a key chain remote control from Taiwan, to be sold with the system I was working on. When I saw it, I told them it was ugly, so we redid it. When your working with start-ups your design has much more influence over the company, over their future branding, then with larger companies. It can be really exciting.
Do you have any advice for design grads looking to find work at a consultancy?
If you're an in house designer – you're going to have a more standard workday. That's just how it is. Consultancy can be brutal, but it also means exposure to different projects. How boring would it be to become the guy that just sits around and designs toasters. Here we have a never-ending variety, and when I'm interviewing, I usually know in the first five minutes it someone can do that. You can tell if someone is born to be a designer or not.
Continue Reading....
Sonic Design
181 North 11 Street
Brooklyn, NY 11211
(718) 387-7927
www.sonicny.com
How did you get into design?
Growing up, my dad had a shop at home. He built anything and everything in that house, which meant that we always had all these tools around. Eventually I started to build things too – a bicycle, a trailer, a tandem, tree houses, another tandem. One day I saw a report on TV for a guy that designed a chainsaw, I thought – I could do that too, so I went to school for it.
What prompted you to make the switch from employee to self-employed?
In Germany I worked for Interform- it was a small studio with eight people. Actually, they we’re pretty big until Frog came around. Interform hired me because the boss wanted someone fresh and unspoiled, who wasn’t already a part of the machine. It was good money and a lot of responsibility. I was writing proposals, doing business development, presentations – not a lot of design. After five years with them I couldn’t handle the stress, I needed to get out, so I took six months and came here. I joined another commercial office, did five more years, and then started Sonic. I wanted to run a firm that was young, fresh, dynamic, and creative, with no one telling me what to wear.
And your first clients were…
My first client was one I took over form the company I left. That’s how most people start. Though it was harder having come from Germany – I didn’t have any connections to start with. The client was this noise cancellation company – they’d liked my work, but things had gotten messy with them and my previous employer, and they’d bailed. When I called them up and said I’d started my own company, they started giving me work. After that I freelanced. I had my own company but no clients, so I did subcontracting for the big brand agencies- a lot of structural packaging. Frog, Ideo, Smart – worked for all of them.
Who would you consider your biggest – breakthrough client?
I would say its probably Target. The prescription drug bottle I did made it into MoMA's permanent collection while I'm still alive. I had already quite a few awards on my belt including IDEA Silver for Heavy Equipment and Medial Design, but the bottle was all over the press. If you want to know the story…
We want to know.
"Well this is the original design," Klaus says pointing to a D-shaped bottle. Deborah Adler, a student at the time, had a grandma who'd miss medicated. She took the wrong pill because she couldn't see the label clearly. Deborah then had the idea to come up with a flat and color-coded label system, making the bottle easier to read.
She pitched her idea to Target – but people didn't like the look, nor was the bottle closure child-resistant, so I got brought in and proposed to design a new bottle from scratch.
I worked with three people for six weeks developing a new medication and labeling system for Target. The biggest innovation was the label that went over the top. It streamlines the pharmacy operation so they're just dealing with one sticker – not six. I met Deborah only after we presented our revolutionary up-side-down bottle to the project team. Target called me up one day and told me she was coming over to see the design, and that she was going to be involved in the graphics. Things moved forward, we dealt with manufacturing – and the bottle went into production.
After it came out, I saw a Target advertisement in Vanity Fair with photos of my bottle and Deborah, describing the entire design and shape as her invention. Target pushed the story of the sick grandma and student inventor hard and the bottle was all over the press. She was on national TV and public radio and if I was mentioned at all, I was credited for turning her bottle up side down. I start calling people, the magazine, Target, telling them that I was the designer of the bottle – it was really just a mess. I can't even tell you how many letters I've written to various publications trying to get credit for my work – some of them listen.
Eventually, after I made enough noise, Target called and told me, in fewer words, that I'd get fired if I kept talking to the press. They wanted me to be the ghostwriter for the product, and for the girl with the story to be the hero.
Of course now that I'm looking back at my career, this is just one of many projects, awards and patents. And I am quite pleased that the MOMA gave me full credit for designing the bottle.
What has been your favorite object you designed?
I did a home security system. It was for this start up company – four guys. They really respected me, and what I did. Once they even bought a key chain remote control from Taiwan, to be sold with the system I was working on. When I saw it, I told them it was ugly, so we redid it. When your working with start-ups your design has much more influence over the company, over their future branding, then with larger companies. It can be really exciting.
Do you have any advice for design grads looking to find work at a consultancy?
If you're an in house designer – you're going to have a more standard workday. That's just how it is. Consultancy can be brutal, but it also means exposure to different projects. How boring would it be to become the guy that just sits around and designs toasters. Here we have a never-ending variety, and when I'm interviewing, I usually know in the first five minutes it someone can do that. You can tell if someone is born to be a designer or not.
Continue Reading....
July 23, 2008
Matt Bird of The Curatorium
I was introduced to The Curatorium by a good friend who had Matt Bird, its owner, as a professor at RISD. Matt was one of the very first to stock Egg Pants. When I was recently in Providence, I thought I’d stop in and ask him a few questions. During our conversation I learned a TON. Check out the interview below for great tips about wholesaling and approaching stores.
The Curatorium
197 Wickenden St.
Providence, RI 02903
(401) 453-4080
www.thecuratorium.com
When did you open the store, and how did it start?
I was working as a wholesaler and manufacturer, when RISD approached me about a project they were developing, RISD Works. It was going to be a retail store which sold artwork and designs by RISD alumni. I worked on developing a business plan, designing the fixtures, pretty much everything to get the store up and running. I was there about 5 years.
After leaving RISD Works, I was freelancing and teaching part time.
I saw a “FOR RENT” sign go up on Wickenden St., in a location that I knew would be great for a gift shop. So I jumped right in, and used everything I’d learned from my previous experience to get this store going. We’ve been here about 2 years. Although, 1 out of 5 people who comes in here still asks, “Is this store new?”
What do you look for in new products?
My filter is things that are well done. An object has to justify its existence. I shy away from pure novelty items. Novelty is great, but there have to be other supporting characteristics.
What’s your favorite object in the store right now, and why?
I love the Moose Head by Cardboard Safari. (Pictured above, $52) It comes flat-packed and you assemble it yourself. It’s a great piece for a very reasonable price. I used to have a carved wood moose head in the shop, which was goregeous, and made somebody very happy. But that piece was $400, while this one is a lot more accessible.
Who is your typical customer?
I don’t have one. This store has become known as a place to find a gift for any type of person.
Have you noticed any recent trends in terms of what people are buying?
People are buying low-cost items, but with the desire to make it seem like it’s worth more. Customers really go for idea-driven designs, which are outside of value. And objects which are unusual, which they don’t see everywhere. It’s also a lot about presentation. People are overwhelmed with options. I see my job as curating for them, going through everything and filtering out only the best stuff.
How do you do your buying?
Mostly at trade shows. I put on my “buying” hat for a week and look at everything all in one place. It’s much easier than looking through catalogues and websites. However, I also find some weird stuff online, and sometimes deal with independent designers like you. I have a pile of great stuff I’ve found that I don’t know how to locate...
Do you have any advice for designers trying to wholesale a new product they have developed? What are the Do’s and Don’ts of approaching you?
Oh, I have a lot to say on that. During my time at RISD Works I saw lots of submissions from artists who just didn’t know how to present themselves.
1)Do your homework! Call and ask for the preferred way to submit. And then follow instructions, otherwise you automatically cross yourself off the list.
2) Honor other people’s schedules. Don’t send incomplete information. Tell me what it costs. Give me every tool I need, because if something’s missing, I’m not going to take the time to track you down and get it from you.
3) Don’t harrass.
4) Don’t say, “My product is perfect for your store.” I’ll be the judge of that, and now I don’t even want to consider it.
5) Make sure that your design is saleable. Think about shelf appeal, liability, whether floor samples will get destroyed or stolen. And again, do your homework - don’t present me with something which already exists in a million forms.
6) Provide a loose floor sample. It makes it a LOT easier for the retailer.
You mentioned shelf appeal. What is helpful for you in that department?
The customer is going to ask, “What is it? What does it do? How much is it?” Packaging needs to answer those questions, and not be confusing. Packaging also needs to consider whether people need to touch this object. I’ll often take the object out of its packaging for the display. Some companies provide displays, but I don’t usually use them because they don’t fit the store. DIsplays should make your product easier to sell, rather than being a billboard for your company’s logo.
Continue Reading....
The Curatorium
197 Wickenden St.
Providence, RI 02903
(401) 453-4080
www.thecuratorium.com
When did you open the store, and how did it start?
I was working as a wholesaler and manufacturer, when RISD approached me about a project they were developing, RISD Works. It was going to be a retail store which sold artwork and designs by RISD alumni. I worked on developing a business plan, designing the fixtures, pretty much everything to get the store up and running. I was there about 5 years.
After leaving RISD Works, I was freelancing and teaching part time.
I saw a “FOR RENT” sign go up on Wickenden St., in a location that I knew would be great for a gift shop. So I jumped right in, and used everything I’d learned from my previous experience to get this store going. We’ve been here about 2 years. Although, 1 out of 5 people who comes in here still asks, “Is this store new?”
What do you look for in new products?
My filter is things that are well done. An object has to justify its existence. I shy away from pure novelty items. Novelty is great, but there have to be other supporting characteristics.
What’s your favorite object in the store right now, and why?
I love the Moose Head by Cardboard Safari. (Pictured above, $52) It comes flat-packed and you assemble it yourself. It’s a great piece for a very reasonable price. I used to have a carved wood moose head in the shop, which was goregeous, and made somebody very happy. But that piece was $400, while this one is a lot more accessible.
Who is your typical customer?
I don’t have one. This store has become known as a place to find a gift for any type of person.
Have you noticed any recent trends in terms of what people are buying?
People are buying low-cost items, but with the desire to make it seem like it’s worth more. Customers really go for idea-driven designs, which are outside of value. And objects which are unusual, which they don’t see everywhere. It’s also a lot about presentation. People are overwhelmed with options. I see my job as curating for them, going through everything and filtering out only the best stuff.
How do you do your buying?
Mostly at trade shows. I put on my “buying” hat for a week and look at everything all in one place. It’s much easier than looking through catalogues and websites. However, I also find some weird stuff online, and sometimes deal with independent designers like you. I have a pile of great stuff I’ve found that I don’t know how to locate...
Do you have any advice for designers trying to wholesale a new product they have developed? What are the Do’s and Don’ts of approaching you?
Oh, I have a lot to say on that. During my time at RISD Works I saw lots of submissions from artists who just didn’t know how to present themselves.
1)Do your homework! Call and ask for the preferred way to submit. And then follow instructions, otherwise you automatically cross yourself off the list.
2) Honor other people’s schedules. Don’t send incomplete information. Tell me what it costs. Give me every tool I need, because if something’s missing, I’m not going to take the time to track you down and get it from you.
3) Don’t harrass.
4) Don’t say, “My product is perfect for your store.” I’ll be the judge of that, and now I don’t even want to consider it.
5) Make sure that your design is saleable. Think about shelf appeal, liability, whether floor samples will get destroyed or stolen. And again, do your homework - don’t present me with something which already exists in a million forms.
6) Provide a loose floor sample. It makes it a LOT easier for the retailer.
You mentioned shelf appeal. What is helpful for you in that department?
The customer is going to ask, “What is it? What does it do? How much is it?” Packaging needs to answer those questions, and not be confusing. Packaging also needs to consider whether people need to touch this object. I’ll often take the object out of its packaging for the display. Some companies provide displays, but I don’t usually use them because they don’t fit the store. DIsplays should make your product easier to sell, rather than being a billboard for your company’s logo.
Continue Reading....
July 22, 2008
Brad Ascalon of Brad Ascalon Studio NYC
Brad Ascalon is one of those people who I’ve known for quite a bit of time, but I have no idea how we actually met. He’s always been rather demure about his successes, and had I not asked, would never have told me about his most recent work for some of the larger European furniture manufacturers.
Brad Ascalon Studio NYC
www.bradascalon.com
For designers fresh out of school, is it better to dive right, or take a job for a while?
There's definitely benefit in getting all the experience you can in any way you can, and its different for each person. Personally, going out on my own immediately was the type of experience that I wanted to get. You learn how to do things because you have no other choice. Companies are paying you and relying on you to do things you may not have done in the past, and there's enormous pressure, but there's also greater reward. But you do need to have the clients to do it and that is the hardest part.
Where did you go to school, for what, and when did you graduate?
I got my Masters' from Pratt Institute's department of Industrial Design in December of 2005.
Brad Ascalon Studio NYC - is that just you, or are there others?
It's just me at the moment, but on occasion I bring in freelancers on projects.
Looking back on your transition from school to the design world, what do you feel was the hardest part?
It was a rather easy transition for me, actually. First of all, I had worked in the corporate world for a few years prior to going back to school for my Masters', so I had some experience that proved to be beneficial after I finished school. And when I did finish school, I was extremely fortunate that my first professional client, Maybelline, contacted me after seeing some of my work that appeared on design blogs. I ended up spending my first year as a professional designer consulting for Maybelline, Redken and Shu Uemura, and a number of other companies. The experience I gained and the feedback I received gave me the confidence to know I was doing the right thing, even though historically it is the harder route.
As a designer, where do you see yourself in five years?
In five years, I see myself continuing to work with a number of high quality, high profile manufacturers the furniture world. I'd also like to focus on smaller, high quality manufacturers who are trying to grow their companies. I imagine its quite a rush as a designer to have the vision and ability to help transform a company into something bigger and more successful. That would be great.
And of course, I'd like to continue to work in other areas like beauty and cosmetics, housewares and anything else that falls into my lap. I'd like to design one of everything eventually, but maybe that's in my forty year plan!
The furniture industry is particularly hard to break into, due to both cost and scale. How did you start doing work for the larger furniture companies, and what advice do you have for new designers looking for a manufacturer?
First of all, I would say that a lot of young designers coming out of school feel the need to prototype everything they do. Of course there's enormous value in that, but there's also enormous cost, which most young designers can't afford. The truth is, if a manufacturer picks up a design, they're going to do their own prototyping and development anyway. They're the experts at that.
I've always worked on furniture by developing concepts in sketches and renderings. Then I find manufacturers who, given what I know about those companies, might be interested in my concepts. When I do grab the attention of a manufacturer, only then do I invest the time and energy in really developing the designs, and always together with the manufacturer.
I started working with companies like Sintesi (Italy) and Ligne Roset (France) that same way. I presented the types of concepts that I thought each company might be interested in, either materially, stylistically, conceptually, etc. Once they were interested in specific concepts, I began developing the designs along with the companies to make the concepts a reality.
The absolute best advice is to network like it's your job, because it is your job. In any creative field, you can be the best at what you do, but if you don't know how to get the right people interested in you and your work, its an uphill battle within an uphill battle.
Continue Reading....
Brad Ascalon Studio NYC
www.bradascalon.com
For designers fresh out of school, is it better to dive right, or take a job for a while?
There's definitely benefit in getting all the experience you can in any way you can, and its different for each person. Personally, going out on my own immediately was the type of experience that I wanted to get. You learn how to do things because you have no other choice. Companies are paying you and relying on you to do things you may not have done in the past, and there's enormous pressure, but there's also greater reward. But you do need to have the clients to do it and that is the hardest part.
Where did you go to school, for what, and when did you graduate?
I got my Masters' from Pratt Institute's department of Industrial Design in December of 2005.
Brad Ascalon Studio NYC - is that just you, or are there others?
It's just me at the moment, but on occasion I bring in freelancers on projects.
Looking back on your transition from school to the design world, what do you feel was the hardest part?
It was a rather easy transition for me, actually. First of all, I had worked in the corporate world for a few years prior to going back to school for my Masters', so I had some experience that proved to be beneficial after I finished school. And when I did finish school, I was extremely fortunate that my first professional client, Maybelline, contacted me after seeing some of my work that appeared on design blogs. I ended up spending my first year as a professional designer consulting for Maybelline, Redken and Shu Uemura, and a number of other companies. The experience I gained and the feedback I received gave me the confidence to know I was doing the right thing, even though historically it is the harder route.
As a designer, where do you see yourself in five years?
In five years, I see myself continuing to work with a number of high quality, high profile manufacturers the furniture world. I'd also like to focus on smaller, high quality manufacturers who are trying to grow their companies. I imagine its quite a rush as a designer to have the vision and ability to help transform a company into something bigger and more successful. That would be great.
And of course, I'd like to continue to work in other areas like beauty and cosmetics, housewares and anything else that falls into my lap. I'd like to design one of everything eventually, but maybe that's in my forty year plan!
The furniture industry is particularly hard to break into, due to both cost and scale. How did you start doing work for the larger furniture companies, and what advice do you have for new designers looking for a manufacturer?
First of all, I would say that a lot of young designers coming out of school feel the need to prototype everything they do. Of course there's enormous value in that, but there's also enormous cost, which most young designers can't afford. The truth is, if a manufacturer picks up a design, they're going to do their own prototyping and development anyway. They're the experts at that.
I've always worked on furniture by developing concepts in sketches and renderings. Then I find manufacturers who, given what I know about those companies, might be interested in my concepts. When I do grab the attention of a manufacturer, only then do I invest the time and energy in really developing the designs, and always together with the manufacturer.
I started working with companies like Sintesi (Italy) and Ligne Roset (France) that same way. I presented the types of concepts that I thought each company might be interested in, either materially, stylistically, conceptually, etc. Once they were interested in specific concepts, I began developing the designs along with the companies to make the concepts a reality.
The absolute best advice is to network like it's your job, because it is your job. In any creative field, you can be the best at what you do, but if you don't know how to get the right people interested in you and your work, its an uphill battle within an uphill battle.
Continue Reading....