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A
SP R K
The
INSPIRE
Issue
DIA
NEWSLETTER
#43
SPARK #43 2 3 SPARK #43
THE THROUGH A
Cover:
Vintage kimono, silk, date unknown.
Photo by Marinco Kojdanovski.
BIG CURATOR’S EYE
Below:
Duality collection, Resort 2018 Dress
cotton, screen printed based on
vintage kimono. Skirt silk, digitally
IDEAS
printed, based on vintage kimono.
Photo by Marinco Kojdanovski.
Right: Stephen Crafti explores how the curators of some of our most well-known
Simone LeAmon, The High
Williamson Curator of Contemorary galleries, find inspiration for their block buster shows.
Design and Architecture.
Image courtesy of the NGV.
W W
elcome to our first The issue begins with Stephen hat is presented Roger hopes the exhibition will
Spark for 2019 – The Crafti looking into the minds of in galleries and capture the influence of the
INSPIRE Issue. On curators Simone LeAmon and museums to the kimono in Isogowa’s practice, as
our cover is a spectacular vintage Roger Leong to see how their big public-at-large isn’t merely a well as dedication to the artisanal
silk Kimono, the inspiration for ideas simmer into blockbuster coincidence. Design exhibitions crafts, whether these take the
Akira Isogawa’s cotton resort shows at the National Gallery often require years to plan and form of fine embroidery, hand
dress (right) – that is currently of Victoria (NGV) and MAAS ideas can linger in a curator’s mind pleating or hand dyeing. And to
featured in the eponymously (page 3) while Consultants from well before a specific space is even ensure the focus is on the 100
titled Akira Isogawa exhibition People and Culture Consulting allocated. “It’s always important items displayed, many of the
at Museum of Applied Arts explain how inspiration for to be able to tell a great story pieces will be shown on tailor’s
and Science (MAAS). And this workplace strategies can spring when the ‘seed’ for an exhibition is mannequins. “I didn’t want to
storyline – of being inspired by from psychology and solid data first ‘planted’,” says Roger Leong, detract from the line or shape of
shape and form, craftsmanship collection practices (page 8). senior curator at the Museum of each garment,” says Roger, who
and culture – is not unusual. Applied Arts & Sciences (MAAS), worked on this exhibition with
In fact, they are the common Clancy Larsen’s story discovers in Sydney. curator Kristina Stankovski.
threads found on page 5, where how diversity and inclusiveness
we surveyed you (our members) are inspiring Beck Davis MDIA, Roger has been behind a As well as hoping that visitors
to discover the ‘what’, ‘who’ and one of our new board members, number of significant fashion to the exhibition will be in awe
‘where’ you find inspiration. in her governance role (page 7) exhibitions over a number of of the work, Roger hopes that
and we bring you some highlights decades. The exhibition ‘Man’s designers and the public at
from our recent DIAlogue Style’, which he co-curated at the large see Isogowa’s designs in
Seminar Forecast Series (page 6). National Gallery of Victoria (NGV) a broader context. “I hope they
in 2001, was an idea that had been make connections between the
Finally, DIA member, Bradley lingering in his mind. “I felt that clothes he started to design
Schott FDIA, explores the fashion exhibitions tend to centre in 1993 and those recently NGV’s Triennial exhibition as well 10 rooms on display. “The idea
unexpected places to stumble on women’s clothing, with a few completed,” says Roger. as smaller exhibitions including is to showcase 10 very different
upon that illusive ah-ha moment men’s outfits included, almost as Designing Women, the latter practices in Australia that illustrate
– including in the shower (page an afterthought,” says Roger, who showcasing work by locals such diversity. People will hopefully
4). And on the back cover, don’t could see the rise in interest of as Celina Clarke MDIA from Ism leave this space with different
forget the What’s On section men in fashion. However, rather and design guru Patricia Urquiola responses. Design isn’t about
from Milan. “Ewan and I come up being prescriptive,” she adds.
which is designed to continue than simply bringing together Design isn’t about
providing inspiration for you men’s fashion from the more with ideas, mindful of responding
throughout 2019. recent past for this exhibition, being prescriptive. to our cultural agenda, focusing on
Stephen Crafti MDIA
he searched the archives from contemporary design from 1980 to
centuries past. the present,” says Simone. Whether
Claire Beale FDIA
Simone LeAmon, Hugh the work takes an architectural or
DIA National President
The idea for the latest fashion Williamson Curator of design focus, there is according
exhibition at MAAS, opening Contemporary Design & to Simone, “a response or attitude
on 11 December and running Architecture at the NGV, to materials and technology
until June next year, celebrates along with her colleague that captures the essence of that
the work of Akira Isogawa, one Ewan McEoin, has been at the period”.
of Australia’s most successful forefront of architecture and
designers. Roger has been a great design exhibitions at the gallery. The Rigg Award is seen as an
admirer of Isogowa and had, with Sometimes, Simone draws on the important milestone for Simone
other gallery colleagues, included NGV archives or sources design and her colleagues, given this
his work in various exhibitions, pieces from all over the world for prestigious award is only given
including ‘Ballet & Fashion’, held temporary exhibitions. Visitors every three years, with Simone
at the NGV in 2012. “The reason to the NGV and to the Ian Potter herself receiving an award for
as to why now stems from Akira’s Centre will currently see 10 rooms her ‘Lepidoptera’ chair in a
25 years in the fashion industry, by leading Australian designers former Rigg exhibition. Simone
a milestone in what can be a as part of The Rigg Design Award, doesn’t expect everyone visiting
challenging industry,” says Roger. this year won by Hecker Guthrie. the Rigg Award this year to be
Simone is also integral to the in awe in equal measures of all
SPARK #43 4 5 SPARK #43
Left page:
Sensory Lab by
WHERE TO WHAT
Foolscap Studio.
Right:
Illustrations by
FIND INSPIRATION INSPIRES YOU?
Katie Coolledge.
Sometimes the place you’re least likely to look might be the exact place Late last year we asked you
where inspiration strikes. Bradley Schott FDIA explores his approach to finding exactly what, who and where inspires
you in your design practice.
“Moments of inspiration don’t in my rush to capture them. The internet is an obvious from everything around me – WHAT?
quite make sense by normal Marc Newson understands this and almost infinite source artwork, antiques, older phases
logic. They feel transcendent, urgency saying, “It’s all about of inspiration. I have a set of of design.”⁴ If sitting at my desk
uncontrollable and irresistible. your imagination… You’ve got to bookmarks for my favourite is not inspiring, I change location.
When one is inspired, time get the ideas out of your head, I design sites, but if my usual Right now I am sitting in a café on The most popular response to the question
disappears or alters its pace. It’s use a pen and paper. I’ve always sources aren’t inspiring I look in Manly Beach, in the window seat of ‘what’ inspires you was ‘nature’, however
not driven by a desire for money had a sketchbook… I try to take other places. It could be a new with a gentle breeze, typing with the reasons as to why were varied. Some
or grades or status. The inspired it everywhere I go. I don’t design material, a natural phenomenon one hand and holding a burger members expressed that nature was simply
person is driven intrinsically by with a sketchbook, it’s simply a or some historical research that with the other. I feel inspired and “what we are about” as designers and others
the work itself. The work takes way to record an idea.”² I try to brings the next idea. I try to be productive – more productive saw it as the closest thing you could get to
hold of a person. Inspiration is take a sketchbook everywhere careful – I don’t want my designs with one hand than using both perfection in design. Whereas one member
not earned. Your investment of too, especially on holidays. I also to look like a Pinterest board. without inspiration.' explained their reason as closely associated
time and effort prepares you for capture ideas on my computer or to aesthetics, saying “If you look deeper
inspiration, but inspiration is a gift my phone, especially conference Demonstrating the value of and slow down for a moment, you’ll see the
that goes beyond anything you presentations, but some things I changing your viewpoint, interior beauty in everything.” Even though this
could have deserved.”¹ just need to draw. designer George Livissianis has concept is not new, it is worth remembering
I
and implementing in your practice.
…inspiration can be said, he “…like[s] to be in the empty
can be inspired by an Some people can capture an space, to feel and experience it,
idea, an image, a feeling idea on-screen but if staring at a
found within the design so that my design is a response
or emotion or from simply screen is not working, try a more process itself. to the space. Sometimes it is not WHO?
reading. Inspiration can appear analogue approach – maybe paper until the previous fitout has been
in the form of a big idea that or tracing paper will change the demolished and the shell of the
transforms cultural awareness, way you think. At most interior Being glued to a computer building exposed that I can get There was a theme to ‘who’ exactly
the foundation of a project or it design practices there is always screen can limit you exploring a true feel for the space, so the inspires you and it can be summed up in
could be the important small idea a stock of yellowtrace rolls. all the other possible options design is not so much about a big one word – ‘women’. From award-winning,
that allows me to move forward. It is used for generating and on hand. When asked, “Where idea as a process of working in and local interior designers, Juliette Arent and
It can happen to me at any time capturing ideas, solving puzzles do you find inspiration for print responding to a space.”⁵ Sarah-Jane Pyke MDIA to international
or anywhere. and resolving details. For me finishes and processes?” graphic rock stars, like architect Zaha Hadid and
yellowtrace is like thinking paper and print designer, Marita This shows how perfectly design podcaster Debbie Millman, you
Because of this, when I have the and after years of working that Leuver replied, “Everywhere… in inspiration can be found within found their work insightful, inspirational
idea it is important to capture it way, simply reaching for the roll magazines, online, bookstores, the design process itself. In reality and aspirational.
immediately. I often have great can start the ideas flowing. hardware stores, haberdashery for most working designers, this is
ideas in the shower – I have left shops… even toy shops! A lot of where our inspiration comes from.
wet footprints on the carpet the time, I’m searching to find Sometimes looking for inspiration WHERE?
out where a product has been is the very thing that is holding me
made and then start thinking of back. So, if I can’t find inspiration
ways finishes could be used with in the shower, I try just doing some
printed matter.”³ design. Simply scribbling out ‘Anywhere’ was the resounding response
iterations can inspire new ideas to ‘where’ inspires you. Be it the local
Other people can provide and sometimes a good idea can be beach, a gallery, London or Japan or even
inspiration for me, if I cannot find staring right at me. “a sunny spot on a mid-seasonal day” –
it alone. Colleagues, friends or both urban and bush environments were
family can provide valuable input popular places for inspiration. And to me
Bradley Schott FDIA the resounding theme here was not just
or feedback that can make all the NSW Deputy Chair
difference. Sometimes the client ‘anywhere’ but ‘anywhere that wasn’t in
has already given me the answers – front of a computer.’
is there something about the client Resources:
or their story I can reflect on? 1. David Brooks, New York Times, April 15, 2016
Jane Connory
2. Designer People, March 23, 2015, interview by
Amy Devers. DIA Research and Insight
But I’m not the only one. Sydney 3. Desktop Magazine, December 14, 2012
based textile designer Eloise 4. Artichoke Magazine, Issue 55. Interview by
Helen O’Neill.
Rapp says, “I don’t design in a 5. I’ll Be Happy When, November, 2018.
Paraphrased from authors own notes.
vacuum. I gather information
SPARK #43 6 7 SPARK #43
DIALOGUE FORECAST LOOKING TO
SEMINAR SERIES THE FUTURE
Dulux, Laminex and Warwick, toured the country Through our recent governance changes, the DIA has remained
recently to share their colour inspirations for the coming seasons. committed to being an informed voice for professional design.
And the result is an exciting palette that knows no rules.
A
s Australia’s peak
industry body for
professional design,
the Design Institute of Australia
stands strong in our values
to equip, support, connect,
celebrate, inspire and advocate
for designers. We service our
membership base with a view
to collectively advancing
Australia’s reputation as a
Design Nation.
Looking over the horizon, to an
industry landscape that may be
significantly altered in the near
future, there’s a palpable desire
within the design community to will continue to test, shock and
understand what direction we delight us. The changing nature
are headed. of education and the rise in
The DIA’s recent change in
… successful open-access and unaccredited
learning is likely to present a
organisational structure has evolution comes significant challenge to the way
seen an influx of new and from a willingness to we talk about and understand
established design practitioners, embrace change… legitimacy and qualification
educators and thinkers ready to within the industry.
take the plunge into governance
and take us into this future – She notes, “change is inevitable
The challenges that face a
F
amidst an unforgiving social … as the world shifts and as
multidisciplinary organization,
rom muted and soft to Our own backyard Striking paradoxes that, “working with unusual colour and economic environment. societies become hyper-
like the DIA, are certainly
deep and regal, the colour combinations and textures” is To gain a better understanding aware of impacts of climate
Start by thinking of colour in Bold and unapologetic, is another complex. Our core values must
and texture combinations the key to personalising diverse of their inspiration for change, ageing populations,
nature that can nurture your key to the pairing of colours and remain accessible to a wide
presented by Andrea Lucena-Orr colour schemes. getting involved with design technological shifts and food
whole self. Connect to the bush by textures presented in this Forecast variety of disciplines, interest
FDIA, Dulux, Catherine Valente, governance, we reached out to security, organisations like the
drawing on the blue-green hues Series. Vivid, unapologetic groups and stakeholders
Laminex and Luciana Wallis, our board members to ask why DIA must evolve accordingly.”
of native flora or get in touch with blues and playful blockings of Express yourself they believe in the DIA and what
and lend themselves to the
Warwick offered inspiration the dessert landscape – through coral hues, sit happily alongside possibility of competing For Beck, successful evolution
These themes should all be they anticipate will challenge us comes from a willingness to
to suit every mood during the the vibrant feel of saturated reds the luxurious feel of velvety interests – whether direct or
approached in creative and the most in the future. embrace change, rooted in
DIAlogue Forecast Seminar or a versatile spectrum of warm cherry reds and elegant, deep indirect.
courageous ways – tapping twin ideals of progressiveness
Series. Read on for a summary of yellows. Also influenced by mid- aqua-greens. There is freedom into your personal identity. The In conversation with Beck Davis and inclusivity.
what you can expect to find on century design, rich brown is to play with the use of gridded This diversity, however, is also
freedom to be large, expressive MDIA, a recent appointee to the
furnishings and surfaces in the making a comeback. arrangements, hand painted one of our greatest strengths
and to demand attention should DIA’s Board of Directors and long- You can view Beck’s profile
next 12 months. It will inspire you techniques and dramatic floral where industry advocacy is
Left:
all be celebrated in the use of standing educational member, along with all the new DIA
to experiment and stay ahead of Greys continue to be present, patterns. concerned. Beck continues,
DIAlogue Forecast these concepts and mirrored in we discussed these challenges. Board Members here:
the curve. but now draw from the shadows, “it is comforting to know that
Seminar Series at the interiors they inspire. Beck explained, “[we] sit at the design.org.au/about-us/structure
Laminex showroom in ripples and geological formations Warwick’s fabrics encourage members can rely on the DIA,
interface between the broader
Sydney. Photographer of our rocky coastline. They can designers to create a uniqueness a centralised governing body
Clark Imagery. Jane Connory community and the relevant
be bold and stark or neutral, with to every job by mixing and to represent them, to ensure Clancy Larsen
Middle
DIA Research and Insight discourse surrounding a particular
lightly saturated undertones. matching different finishes. And matters of concern are placed
Images courtesy industry… a broad membership
Laminex, in particular, suggests this use of unusual combinations on the national agenda. There
of Dulux. base means advocating for the
an organic sensibility when was mirrored in Dulux’s is no doubt in Beck’s mind
Right: design community can be a
Dr Beck Davis MDIA. choosing greys, so that presentations, with Andrea that the twenty-first century
complex undertaking.”
Photographer they become layered within Lucena-Orr FDIA commenting
Elleni Toumpas. contrasting and fractured textures.
SPARK #43 8 9 SPARK #43
Left:
Left to right:
THE SCIENCE BEHIND DESIGNING FOR
Keti Malkoski, Principle,
Sarah Zerella, Consultant
and Samantha Simpson,
Data Analyst from People
MEANINGFUL DESIGN INVISIBLE DISABILITIES
and Culture Consulting
(PCC), are experts on
collecting and
analysing data.
Psychology can support workspace strategy through understanding human thoughts, Inspiration can be a very personal experience.
feelings and behaviour, as well as being trained in rigorous statistical analysis and research.
D
factors such as performance, value on its accuracy. There are many IA Member, Megan the support of research, industry us, finding out what might work
propositions, wellbeing, leadership biases and research considerations Lawrence, shares how and design associations, we and what may antagonise.
and culture. that can influence how valid the working with children can promote it as best practice
data is. If done incorrectly, the at a school for people with within the field of design. Our responsibility comes
‘truth’ that we seek through data disabilities has inspired her with seeking and utilising the
can be misleading and can lead to approach her practice with Building on an education information that is continually
to insufficient design solutions. empathy, based in research and University degrees encourage developing as part of our design
the 'truth' that we In brevity, good quality data can real human experiences. the consideration of all five research. Ultimately our job is
maximise the alignment between to provide end-user satisfaction,
seek through data the workspace design and the What inspires me?
senses when designing space.
good design, community
However, those with an ‘invisible
can be misleading… holistic organisational needs. It was halfway through my disability’ such as autism, don’t engagement and spaces for all.
undergraduate degree in Interior necessarily benefit from this
Additionally, understanding Design that I began to volunteer standard design processes. Megan Lawrence MDIA
The collection of relevant data the cognitive biases (learned sporadically at my sister’s work A large part of an autism
can provide more pieces to the unconscious mental biases that – she is a teacher at a school for diagnosis, can be an over or
puzzle, further informing design distort our thinking, influencing children with disability. At the under-stimulation of the senses.
objectives and decisions. The
intention of this is to clearly
what we believe and impacting
our decisions) that influence a
time, I was being exposed to
beautiful and iconic examples The consideration by designers
FIND OUT MORE:
understand the design needs and person’s approach to responding of design at university but in for the impact of lighting, • Baumers, S & Heylighen, A.
desires for both the organisation to questions (whether in an contrast, I was witness to barely acoustic treatments, finishes (2015) “Capturing experience:
and the people. There is a common interview, focus group or survey) An autistic Design Journal, 18:3,
sufficient and dated learning and fixtures – how they look,
misconception that ‘data’ is can influence the quality of the 327-343.
environments at this educational how they perform and how
W
always aligned with ‘truth’. The data collected. The table in the facility. much they cost – could be better • Gaudion. K, Hall, A, Myerson,
orkspace strategy of a workspace strategy is to assumption is that if we can bottom left explains some of the considered as a starting point J & Pellicano, L. (2015) “A
quantify behaviour, attitudes, important considerations to ensure I watched teachers create sensory for those with autism. Designer's approach: How can
is becoming align the workspace design with
experiences and functional the data collected is as accurate autistic adults with learning
increasingly how organisations – including rooms for children with autism
needs for the workspace, then as possible to support workspace disabilities be involved in the
prominent due to end-users and its teams and individuals – need with donated materials. Staff design process?”
project consultants, including to strategically function. It is we can ensure the workspace design decisions: cobbled together makeshift pieces
design meets its users’ long- of furniture with what they had • Haertl, K, Callahan, D,
designers, realising the benefits important for experts in workspace
term requirements. However, the By addressing these Markovics, J & Strouf Sheppard,
that data has on developing strategy to be specialists in
process taken to collect this data considerations, accurate and
around the school to better serve I was witness S. (2013) “Perspectives of adults
intelligent design solutions. In a human behaviour and have sound the needs of the students.
bid to set the scene, the purpose knowledge of organisational can have a significant impact reliable design objectives emerge to dated, generic living with autism spectrum
disorder: Psychosocial and
and a more intelligent design can I observed several things: learning occupational implications,
be achieved. Overall, workspace
• The absence of good design, environments – occupational therapy in mental
strategy benefits from the
which could assist the learning which were health.”
IMPORTANT CONSIDERATIONS FOR DATA COLLECTION: inclusion of specialists in research
experiences of children with a sufficient to say • Khare, R & Mullick, A. (2009)
and human behaviour to capture
disability – both physical and “Incorporating the behavioural
Research Considerations Impact on Data Impact on Efficiency of Design a holistic understanding of an
neurological;
the least. dimension in designing
organisation and its people. By inclusive learning environment
1 Leading Questions Can be misleading and result in Can lead to design that suits the designer, developing an accurate workspace • The challenges faced by the
for autism.”
misaligned responses. rather than the client. strategy, designers can design end-users, when dealing with
Looking at the research • Mostafa, M. (2008) “An
2 Observer Expectancy Bias Interpreting the data incorrectly can lead Can lead to design that is wanted, rather workspaces that support not only bad design; and
While still very little is known architecture for autism:
to false assumptions. than actually need from the space. how the organisation functions • Teachers performing the role of Concepts of design intervention
and represents itself aesthetically about Autism Spectrum
3 quasi designers. for the autistic user.”
Unbalanced Scales/Response Options People may be forced to choose an Can lead to design options that are limited. Disorder (ASD) and its
but also promote positive
inappropriate response. variances, the diagnosis rate has • McAllister, K & Maguire, B.
employee experiences and drive As designers of space – be it
4 been shown to increase over (2012) “A design model: the
Sampling Bias Collected responses are not Can lead to design that supports some productivity and innovation. urban environments, landscaped
the last 10 years. As designers autism spectrum disorder
representative of the diverse range of people within the organisation, whilst areas, structures dotted classroom design kit.”
employees. neglecting others. we should be mindful of these
throughout it, interiors or the
People and Culture ‘invisible disabilities’. We can’t • Vázquez F.S & Torres A.S. (2013)
5 Social Desirability Bias The structure of questions can influence Can lead to designs that support the way Consulting (PCC).
furniture and objects within it –
necessarily be experts, but “Autism and Architecture.”
how honestly people respond. people want to be, rather than how they For more insights contact we need to design for diversity.
we don’t need to be. We have
actually are. KMalkoski@schiavello.com Legislation dictates this, but with
researchers doing the work for
SPARK #43 10 11 SPARK #43
BUILDING A DREAM FOR
Left:
The McIntyre family.
Below:
LOCALLY MADE KNITWEAR
Sally Caroline‘s
Sorrento Beach
House fully integrates
appliances to reduce
their visual impact in
the open plan kitchen
A small fashion house is making wool cool again and living space.
through a very personal meet the maker brand story.
from the Netherlands and Ned and Raquel say the best thing
with a background in European about working with local factories
fashion, struggled to understand
why Australia was “not loving
their own product and making
is the ability to work through any
issues and ask their advice about
changes while standing in front of
FISHER
beautiful garments,” she says.
Back in the city and working
in retail Ned dealt directly
the machine.
“They have the expertise, speak
& PAYKEL
with distributers in Thailand, the same language and then you
Japan and the USA and decided can go back a week later and
that he could use these skills for review it with them and talk about Fisher & Paykel inspires
his own business. it or say let’s try this. They’ve got innovation in the kitchen.
to be invested as well and they
F
do get excited.”
isher & Paykel’s for products such as the
Raquel, Creative Director at modular appliances Fisher & Paykel DishDrawer™
…by using bright McIntyre says that educating have been developed Dishwasher, CoolDrawer™
customers about the sustainability to inspire innovation as the Multi-temperature Drawer
fun colours that of wool is another important kitchen becomes a central and Columns refrigeration
would “make wool factor and sees a correlation with focus of modern living spaces. as they inspire and facilitate
cool again.” a shift to using natural fibre in integration and the flexible
clothing and the paddock-to-plate Increasingly kitchen placement of utilities to suit
movement in the food scene. design is breaking free from both spatial, aesthetic and
And that’s when the meet the traditional rules to favour the lifestyle needs.
McIntyre came about from the makers storyline came alive with integration of utilities, such as
couple’s desire to make knitwear photos from the farm that include dishwashers and refrigerators
T
using wool grown on the family Fisher & Paykel
family and friends. so they are concealed. This
his January McIntyre They had been working to “A pivotal point was in 2010 fisherpaykel.com
farm and introduce that idea to a design requirement calls
Australia showcased develop McIntyre around their when we moved back to the farm younger audience by using bright Ned, as Managing Director, says
their merino knitwear at full-time jobs; Ned as a sales for a year to help my father retire. fun colours that would “make the point that constantly grounds
Pitti Uomo in Florence for the manager at Crumpler and I was really surprised about how wool cool again,” Raquel says. them and inspires a quality
second year in a row. For a fashion Raquel as an account manager they sold the wool,” Ned says of “When we started, we thought it product is his grandfather’s
brand that’s only three years old, at Pigeonhole. Their work took the process which sees it sold at would be simple. We’ve got wool. saying, ‘Buy the best you can
this shows a confidence in the them to international trade auction in Melbourne where it’s We’ll make wool jumpers and do afford and look after it.’
designs appeal and its promise shows where they noticed a lack bought by one or more mills and it all here,” Ned says.
of longevity. It also shows that of Australian brands apart from then spun and blended with wool McIntyre Australia’s merino
business owners, Ned Schofield RM Williams, Blundstone and from South Africa or New Zealand But sourcing local wool knitwear is soon to be stocked in
and Raquel Bodeo, have a clear various surf brands. or elsewhere. processors who can scour, clean, New York and London boutiques.
strategy and drive to build on sort, spin and dye to the colours mcintyreaustralia.com
the interest generated in their “I thought, ‘how can we produce “Wool literally goes off the sheep’s they wanted to use and finding
garments at last year’s event. 90 per cent of the world’s merino back in the shearing shed, onto a local manufacturers capable
wool in Australia and there’s not truck to a major city and then it’s Daniella Casamento FDIA
of producing the fine quality
International designers, an iconic brand making wool exported. All our major cities in DIA VIC TAS Councillor
knitwear they wanted was difficult
stockists and fashion editors clothing globally?’,” Ned says. Victoria like Melbourne, Ballarat in a slowly dying industry.
have been drawn to the menswear and Geelong have big old wool
trade show for almost five decades Having grown up on a sheep stores and beautiful architecture “The only way to use our wool
which now boasts up to 30,000 farm called Glenoe in Western that still have wool signs written on was to get our quantity of garments
visitors in one week. “I’ve been Victoria, which has remained in them. But we just don’t have that up first. Once we were doing
told it takes three years to get the family since 1846, he was well [manufacturing] industry anymore.” about 1000 per season, we could
in and that you need to be there versed in wool from the growers’ use our own wool and we’re at
three times so that they see you’re perspective but what happened He saw the lack of traceability that now,” he says. “We are really
legitimate and your direction to it after the wool was sold was as a missed opportunity to hopeful that in the future we can
doesn’t change,” Ned says. never the focus. give consumers what they do everything here.”
want while Raquel, originally
SPARK #43 12
WHAT’S ON MELBOURNE
INSPIRE SPEAKER SERIES
NSW QLD GOES GLOBAL
BUBBLE & SPEAK SERIES 2019
A
7 March 2019 5 April, 25 July
and 25 October 2019 fter a five-year Australian Graphic Design,
DIA NSW presents a small panel of
amazing designers who will take us campaign led by the Australian Institute of Architects
The Bubble and Speak Breakfast
through their award-winning projects. Series is set to stun guests again in Design Institute of and Indigenous Architecture
VENUE: UCI Projects, Level 7, 222 2019 and will not only be providing Australia and Creative Victoria, and Design Victoria Association
Clarence Street, Sydney. the design industry with three Melbourne was chosen as the plus the Creative Victoria
breakfast events, but will be injecting international partner city for travel grants.
COST: $30 Members, $60 General
inspiration into lunch time as well. Asia's premier Business of
Admission, $20 DIA Student.
CONTACT: diaqld@design.org.au Design Week (BODW) 2018 – "Business of Design Week
BOOKING: design.org.au/events
the first time that Hong Kong provided a fantastic opportunity
CONTACT: diansw@design.org.au
has selected a partner from the for designers to demonstrate
VIC
SA southern hemisphere. our strong design capabilities
FUTURE MELBOURNE / internationally,” says Jo-Ann
WORLD INDUSTRIAL FUTURE DESIGN
DESIGN DAY The partnership created Kellock FDIA (Hon), DIA CEO
21 March 2019
29 June 2019 exciting opportunities for and co-chair of the BODW
Future Melbourne Future Design designers and businesses management committee.
Join the DIA SA/NT in celebrating focuses on designers who are
World Industrial Design Day. Hear to reach a global audience
exploring future design ideas that will
from a panel of diverse industry improve the liveability of Melbourne and generate new export Such a successful partnership
representatives discussing this year’s as it looks towards becoming opportunities under the theme between industry, government
theme in accordance with the World Australia’s largest city. Think•Collaborate•Create, and education in Victoria
Design Organisation, now in its designed by coowhi. The provides a strong case study
BOOKING: design.org.au/events
62nd year.
CONTACT: diavic-tas@design.org.au showcase stand was design by to develop similar projects in
CONTACT: diasa-nt@design.org.au
DesignOffice and curated by the other regions across Australia.
National Gallery of Victoria. The DIA team are reflecting
on where next, in order to keep
An over 270 strong delegation championing Australian Design
of Melbourne designers were and Designers to a global
in attendance, three times what audience.
was originally expected. This
was due to a strong engagement Caroline Caneva FDIA (Hon)
drive across design industry DIA Programs and Events
associations including the
Design Institute of Australia,
Australian Fashion Council,
DIA CORPORATE PARTNERS
DIA PATRON GOLD PARTNERS SILVER PARTNERS BRONZE PARTNER
PLATINUM PARTNER EVENT PARTNER
LOYALTY PROGRAM PARTNER
Protecting Professionals
©2019 DIA. SPARK is the National Newsletter of the DIA. Spark correspondence DIA National office
While every effort is made to ensure that the contents and quality of material Email the National Head 27 Derby Street T 1300 888 056
contained in SPARK conforms to DIA principles, the DIA accepts no responsibility of Communications at Collingwood, VIC 3066 admin@design.org.au
whatever for any omissions, errors or opinions, however occasioned. marketing@design.org.au Australia design.org.au
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