Available online here.

Each piece is hand made using laser cut translucent white acrylic with a cool-white fluorescent bulb. Available at the website. $1200

Flexible Arm Wall Lamp, Eduard-Wilfrid Buquet, 1927

Door Levers, Ludwig Wittgenstein, 1927

“Le tre steghe” Pendant Lamp, Guenther Leuchtmann, 1981

You might think this fixture is strange, even ugly. It’s really a gorgeous piece and you can see it on display at Siematic Seattle. 

Online here.

Atlantis Chandelier

Love You Love You Not Chandelier

detail

Candles and Spirits Chandelier

Atlantis Chandelier, Knight Base Table

English Windsor 

The Rock

Bronze Mirror Conv.

Simple classic lines split into three grades. The Kode Lamp changes in tone from base to top. Frame is composite wood covered in frosted matt polycarbonate. Inner coloured drop in insert is hand silk screen printed. Available colors: White/Yellow/Orange. $95

Vintage necklace made from vintage parts sourced from UK and France. 2 fob watch keys, a watch part and a 9kt tableware charm, a knife, a fork and a spoon on a long vintage chain. $225

Bud V. Dragon, by Jaime Haydon for Lladro Re-Deco, $460

Timorous Beasties, Damask Wallpaper [2004], hand screened paper, per roll $182

Seconds Dessert Plates, set of four $90

Above: individual crystals used in the Original colourway. (Crystal with Blue AB coating & Rosaline)

The November 2007 issue of House and Garden magazine wrote a story on Gwyneth Paltrow’s house in the Hamptons. A large Blossom is shown hanging in her dining room. Habitually Chic has a nice story on the photo shoot for the article. 

Tord Boontje Blossom Chandelier for Swarovski

Available in the following sizes:
Large: H145cm x L90cm x W165cm, 17kg
Small: H85cm x L50cm x W85cm, 12kg
Mini: H53cm, L15cm, W54cm, 6kg.

Available in the following colourways: 
Original: Crystal with Blue AB coating & Rosaline
Night: Jet & Jet with Blue AB Coating
Spring: Light Peridot & Yellow Shadow
Autumn: Bordeaux Blue Violet with Golden Teak coating, Crystal with Golden Teak coating, Copper & Topaz

Check out Crystallized, the Swarovski magazine for crystal innovations. 

Great space. Great coffee.

The wispy lines and swirly shapes of the Mr Tulk identity get applied all over the interior walls of the cafe. Graffiti meets wallpaper; there’s always something new for your eye to take in. I like the green fixture – the scale of that light is really unique and unexpected. The look of the light is slightly retro but the color and proportion make it feel modern.

Pick up your drinks at the copper bar.

One of the seating arrangements features a communal bar along the wall and a tall table. Note the exposed bulb fixtures dangling overhead. The spare black lines formed by the cords pick up on the wall treatments.

The main room at Mr Tulk features additional table seating along the wall, a large communal work table with red stools and unique lamps and a tiny table with a couple of brown metal stools in the foreground. Double-height windows saturate the space in natural light. Note the additional future-retro fixture attached to the wall in the upper left of the picture, this one is black. Adding the two steps up makes a nice division to the space.

Although James Cameron is a relatively new label in the Melbourne fashion scene, he’s obtained a reputation for designing particular details. It’s the refined and restrained looks, with unique proportions and scale, that epitomize his collections. During a visit to his studio/shop, located at 18 Oliver Lane, I discovered more about his passion for clothing design and all things modern. I also learned how James takes a look back in time for inspiration and factors a ’slightly familiar’ quality into his timeless design sense.

From the Spring Summer 2008 / 2009 collection.

So the dust just settled from the Sydney Fashion Week show and James got back to me for the interview. Thanks James!

Enjoy.

What’s your typical day at work like?

Depending on the time of year, we’ve just had Fashion Week in Sydney and in the lead up we have been working ridiculous hours. But generally we sit around our large central table and think about what’s on the cards. We refine designs. patterns, cut make and sell all within the same space. We’re sticklers for detail and as simple as our shirts or trousers may look we’re constantly refining and honing our pieces. A lot of coffee, not much eating.

Describe your workspace.

When we started here I really wanted the space to blur the line between studio and store. I wanted to welcome and make comfortable those who came here into a personal space, therefore (theoretically) breaking down any walls or pretension between the designer and his work. It’s a great idea but flawed in many ways. I still love the idea but there are times I wish we could close it off. But it’s part of our history now and I think no matter where we go I would like to always use an element of the idea.

The space itself is very simple. We are just below street level so you enter by going down a small set of stairs and we have small window pane frontage. The design of the space is meant to reference the modernists and post modernists I love.

Any rituals you have to perform before starting to work?

Coffee.

What are you passionate about?

To those outside of design I would sometimes sound like a broken record, whining all the time about bad design, poorly executed work etc, but there are so many great things out there being done by great people I don’t understand why we celebrate laziness and mediocrity. For new things I love what Established & Sons are doing from the U.K. I love food and the way it truly brings people together. It’s one of the most honest things you can do, cook for someone and find out. I love it.

Where do you find inspiration?

Always a difficult question. As a designer I guess you don’t stop finding inspiration everywhere you go. But I love how car design is changing as we have to solve fuel, environmental and congestion problems while still remaining true to to the ideas of freedom, creativity and our desire for speed and style. I read a lot, I love film particularly Jean Pierre Melville, the French Noir style. I love that stuff. I am particularly inspired by the near future, I love the aesthetic problems it poses on design. What will we be doing in 5-20 years time, how much will we change as we accelerate (technologically speaking) if at all? I love the idea of existing in “no-time” at all, that there are familiar notions or gestures but actually are new, for example, in our next season we are working on knitwear patterns that at first look like a traditional cable or fair isle knit but upon closer inspection their patterns are thoroughly modern, they haven’t been seen before and by doing so we’ve created a piece of no historical significance or pretense, except for ourselves. It is subtle but it’s not retro and in turn moves us forward

How would you describe your style? How has this style developed over time?

The style is as above, we want people to double-take and inspect. What looks like black upon closer inspection is super dark aubergine or brown. We want men to be men, not in costume, feel handsome and confident but unlike everyone else. Bring a little of themselves, a little of me, a little of something else. We’re the sum of many parts and this should be reflected in a strong, confident way. Over time the style or more importantly the philosophy has been cleaned up and become clearer. It has been important to us that we establish a design language that is clear and coherent. I still want people to have a sense of discovery and unexpectedness and so we still develop this over time, but at least now our clients know where we are coming from. We’re romantics and we love telling a story whether it be our own or somebody elses.

Which artists, designers or creative people are you inspired by?

In fashion and in life we so often fall into cluster groups, ie you like listening to so and so, you wear this label and drive this car, but you aspire to this etc etc. This is great and it gives us a sense of belonging but there are times that I like to break this model and include something from left of centre and bring it to the group with a new sensibility. That’s a long way of saying that the designers I like are for their philosophies and process, I don’t always like their results but I love their thinking. Nicholas Ghesquiere and Raf Simons are genius, as is Martin Margiela. Dries Van Noten is incredible with colour and his steadfastness, unchanged after so many years. I am obsessed with Donald Judd and from art to furniture, Jean Prouve and the great American and European Modernists.

What’s your Spring Summer 2008/2009 line like? What’s new? And your inspirations?

It has been dubbed “The Getaway”. From this we took our hero and his story from leaving work Friday to his return Monday. The colours are bold and confident but they all work harmoniously and I can’t wait to have them in for Summer. There’s a sense of the late sixties but as previously explained when seen first hand they take on something else and should reference no time but exist on their own. Sounds serious, but this is our starting point. New pieces and silhouettes are deep double pleat trousers. The pleats are stitched flat down the thigh and then let loose giving fullness and then to a subtle taper at the ankle. It’s great new silhouette. Also, great shorter bomber jackets in silk and short finishing trousers, so formality is retained during Summer. They are all great looks that push the label forward but don’t alienate anyone. I’m really looking forward to next season as we further solidify what the label is about.

What makes a good collection?

Clarity, Cohesiveness and fun.

You opened your Flinders Lane shop in 2007 – how’s that going?

If I could make it purely a shop then I’d have something. It’s going well, but as I said earlier, theoretically the idea of a store/studio is great on paper just not so much in practice. I would love to just let go and not have to worry about the consequences of leaving the shop messy, but for now we will keep the store as it is. It works well and conversation is second nature when standing around the pattern table and I wouldn’t want to lose that.

Will James Cameron create a line for women? – seems like the kind of question you’ve heard 1,000 times before or maybe you just can’t be bothered answering since your hands are full with the mens collection…

Not at all. I think designers like Veronique Branquinho have done this perfectly (albeit vice-versa). She masterfully translated her structured womenswear sensibility into menswear without making it feminine but still retaining her core values. Dries is another. I would love to and my training is womenswear. I will have to wait and see, but it is definitely on the cards.

You told me a story about how you had seen a sweater worn by JFK and that you were inspired by it. Could you relate that story to me again?

Well I guess this is an example of story-telling in the store, but I truly believe it adds something to the garment and the experience. I wanted some truly iconic cuts of the sixties and I stumbled across this black and white photo of JFK, sleeves pulled up on this small sailing boat I imagine somewhere in Massachusetts. It had more than just the former presidents preppy style and actually gave me a sense of adventure and optimism. From that we (re)created the sweater. A small crew neck with three stripes on a saddle shoulder pattern. But it needed to prompt questioning so I did some further research and this wasn’t as fortuitous as the finding the photo. Eventually I found some information pertaining to the Kennedy’s yachts. They had several of course. But one in particular was small boat they had while growing up and was called the “Victura”. In turn we named our sweater the Victura, which is a hell of a lot better than The Jack or JFK. I read recently that one of the Kennedy’s boats was sold at auction and another was destroyed by fire.

MELBOURNE SPECIFIC

Favorite Coffee Shop?

Jungle Juice, The European and Mini (my local).

Favorite Restaurant?

I used to be a real foodie but since the store opened I have had to curb my love a little. Il Solito Posto is a great bustling, but somehow still romantic Italian restaurant mid-city. The European for breakfast and Madame SouSou too. Julio’s (literally down by the schoolyard!) in North Fitzroy is very humble and cool. Anything by Andrew McConnell or Maurizio Terzini, who has just opened at the casino which is a big no-no, but he’s managed to pull it off and the food is phenomenal (Giuseppe Arnaldo & Sons). Gils Diner is the one I’m dying to try. So many in Melbourne, we’re really fortunate.

What’s your typical Saturday morning like? (other favorites, routines, etc.)

Generally the search for a great cup of coffee on a Saturday, near the shop continues. I get that, then I’m happy. I have to wait til Sunday to have a sleep in and think about other loves besides design.

The shop at 18 Oliver Lane.

James Cameron website here.

James Cameron Boutique
Level 1 / 18 Oliver Lane
Melbourne Victoria 3000
Australia
PH + 61 3 9662 2506

M1113, in Honey, Brass, White Linen Shade

Take a look at the Martha Sturdy website for the entire collection.

Cloisonné: T’ang, Silhouette

Buche, Palais

Copper Repoussé: Helix, Monk’s Robe

Fluted Flask, Topiary

Robert Kuo website here.

Design: Rody Graumans

The label from the box containing an 85 lamps chandelier says:

Hi,

GUESS HOW THE GUYS AT DROOG DESIGN EXPLAIN THIS ONE: JUST A BULB AND A SOCKET AND A CONNECTOR, THAT’S SO ORDINARY… PUT 85 TOGETHER AND YOU GET AN OPULENT CHANDELIER. WHAT GAVE RODY GRAUMANS THAT IDEA? GREAT STUFF!

LOVE,

www.droogdesign.nl

So serene. The beautiful view and gently blowing sheer curtains add to the drama. I can smell the eucalyptus trees. Nice blues trickling out the window to that ocean view.

There are a few things I liked about this bedroom. The scale of the artwork works really well and I like the way its positioned within the darker background on the wall. I like the strip of wood above the headboard and the lights. The lights are discrete; nice to see a less-technical-looking reading light above a bed. The height of the headboard seems really functional; not too high, not too low.

The blue/white theme continues around the corner in a dressing area. Natale uses a lot of rich woods; I like the amount of deep brown wood used here in this example. The amount of light pouring in through those windows would make dressing a pleasure.

Natale is known for a bold use of patterned wall coverings however I favor his interiors that speak a little bit softer, as shown in this kitchen. The exaggerated proportion of that very tall door is great.

Natale also uses dramatic lighting fixtures throughout his designs. I like the fixture used in this kitchen. the photographer did a great job setting up this shot — do you see how the line of the tall cabinets continues in the glossy finish of the cabinets above to the left.

I’m not so sure about the tub sitting flush with the floor. I definitely appreciate the capability of opening the windows to the private courtyard to let the natural light into the space. I like the light fixture above the tub; kinda quirky with some personality.

The Greg Natale Design website is a really well conceived extension of their brand. All the elements are there: drama, pattern and materials.

Having the on/off switch on the handle is a nice detail as it allows you to easily turn the lamp on in darker conditions. The base is ridiculously heavy and has an ample diameter. No fears about the light going anywhere! $362

I like the Jane Lamp for a writing desk. The on/off button in Wenge is a nice touch and I prefer the cord in brown.

19th century chair re-designed by Maarten Baas. Five designs specially commissioned by Kanafani. Each chair is burned then covered in clear epoxy.

Tazza cup and saucer. Mouth blown boron silicated murano glass.

Bergere Sofa. Antique hand-dyed linen with wrapped legs.

A fully comprehensive interior design consultation service is offered from Mint. Contact the store for more details.

One of my favorites (it’s hard to choose because there are so many great designs) is the “quietly elegant” Cloud 2 pendant.