The recent renovation of this Elwood home been designed by Splinter Society to feature several distinct and ‘moments’ throughout. The journey starts with the property’s dark and ornate bungalow facade, followed by a light-filled living room with garden views, before eventually leading into a dramatically moody bathroom.  ‘Our client requested an intimacy within her house. Living and working from home meant that she wanted a series of spaces with unique individual character, but with the warmth and security that the original house delivered,’ explains Splinter Society director, Chris Stanley. ‘The rooms remain defined, however they gradually open and connect together in a new way as you move through the house.’ 

The home’s diverse mix of architectural influences is reflective of the client’s broad and ever changing brief. ‘We had to keep refining our thinking and the end result is a much richer result, with layers of meaning that evolved right through to the completion of defects,’ Chris says. One of the most prominent influences is Japanese architecture, as evident in the material selection of the bathroom, and the home’s protected position on the site. ‘California bungalows traditionally borrowed heavily from a Japanese housing vernacular,’ says Chris. ‘Given our clients love for her bungalow, we borrowed specific qualities and influences from this house style to developed a set of design informing principles.’

One of the most successful outcomes of this renovation is the home’s new connection to its leafy garden, without a dramatic increase of the building’s footprint. A single room designed to act as a pavilion was added to the property for this purpose alone, in addition to several openings in the original rooms that better frame garden views. ‘Some connections to the garden are short views, and others are long and layered, but all create a sense that the house has been transported from its suburban block onto a much larger site,’ says Chris. The exact effect of this is difficult to capture in images alone, inviting an evolving array of light and shadows across the home’s surfaces throughout the day. 

‘This house is not about grand statements. It’s a series of small, intimate spaces designed to reveal moments of delight by either moving through them or just sitting and enjoying the passage of time,’ says Chris. ‘The house is deeply personal to its owner and captures a lifetime of memories. While it retains a cosy cottage feel, it cannot be separated from the landscape that grounds it, expands it, frames it, and makes sense of its natural charm.’

Irina Rybakov and partner Carlo Demaio moved into this apartment block in 2011, and briefly left in 2013 for a year long stint in Berlin. When they returned from Europe, they moved into a new apartment in the same beloved Northcote building! The building is also home to many members of Carlo’s family – his parents, Grandma (96 years old!), and brother all have apartments in the building. For some people this would be a nightmare, but for Irina and Carlo it is a dream. She highlights ‘whenever another apartment comes up for lease, we’re always trying to recruit some friends to join our little compound!’

The apartment has been constantly updated over the years, based on changes to the couple’s needs and lifestyles (with a baby due to arrive ANY DAY NOW, there will be some further changes soon!). Irina describes ‘Carlo has pretty much doubled the overall storage space, by creating custom shelving anywhere he could find.’

Storage space is important for Irena, whose expansive collection of beautiful ceramics is on display throughout the apartment. Irina highlights that because they moved into a newly built building, they were mindful of adding soul and character. She explains how they layered personal touches in the new spaces ‘to make it completely our own, and compensate for the lack of previous history and features an older home may have.’

The space is warm and casual, and the couple have balanced their contemporary items with authentic pieces. The pair are self described as ‘pretty minimalist when it comes to colour’ and their home reflects this with a timeless and neutral palette. Small splashes of colour pop out with Irina’s collection of artworks and objects and she explains ‘they get to shine even more against a neutral background.’

While the inside of this apartment is beautiful, for Irina and Carlo, the view is the real winner, with third floor views and a nightly sky spectacle of glowing sunsets. The proximity to Merri Creek and the Northcote village is also a big plus, and soon we imagine that having a swag of babysitters within the same apartment block will also be a huge help!

BEST BAR DESIGN:  Blacksmith Lake Mulwala by The Stella Collective

The Best Bar category was taken out by The Stella Collective for their work on Blacksmith Lake Mulwala. The judges concluded that it ‘is especially impressive that Mulwala’s pre-existing mid-century buildings were taken into consideration – the project is designed to blend in with its neighbours while simultaneously providing the town with something new and fresh.’ Think vintage pink umbrellas and a 1970s Southern California vibe!

Commendations

Hotel Rose Bay – Richards Stanisich (Rose Bay, NSW)

Locura – Pattern Studio (Byron Bay, NSW)

Paloma Bar & Pantry – Claire Kneebone (Adelaide, SA)

Best Cafe Design:  Via Porta by Studio Esteta

We are already obsessed with this cafe and deli in the suburb of Mont Albert by Studio Esteta. The jurors celebrated the Italian feel and earthy palette, and commended the designers for ‘creating a feel that is tactile and intimate.’ They describe ‘there are materials employed here that are uncommon in contemporary interior design, such as the thick glass used for a large communal tabletop at the front of the room.’

Commendations

Lobbs Café – Techne Architecture + Interior Design (Brunswick, VIC)

Saint Dreux – Arkhe Tekhne (Melbourne, VIC)

Best Hotel Design (Joint Winner) The Calile Hotel by Richards and Spence

This is a big project, with a big budget, and a huge outcome! The Calile Hotel by Richards and Spence in Brisbane’s Fortitude Valley is described by the jurors as ‘a prime example of a large budget put to fantastic use.’ The vibe is ‘luxe escapism’ where it feels like you have been transported to a resort, while remaining in an urban area. The jurors highlight the use of a restrained colour palette, white brick, stone and expressed concrete structure, concluding that ‘it already has a sense of the iconic.’

Commendation

United Places Botanic Gardens – Carr (South Yarra, VIC)

Best Hotel Design (Joint Winner): Drifthouse by Multiplicity

If you are in need of a holiday… make it a design winning one! This small boutique in Port Fairy, Victoria is a pared back project by Multiplicity that captures a subtle sense of luxury. The project encompasses a double-storey Victorian bluestone house, an adjacent single-storey Edwardian home, and a newly built garden pavilion and reception centre.

The jurors celebrated the use of reclaimed wood and stone from a local quarry to create a subtle sense of luxury that also reflects the town’s hardscrabble history.

Best Restaurant Design: Di Stasio Citta by HASSELL

Di Stasio Citta by HASSELL on the edge of Melbourne’s CBD is described by the jurors as ‘as much art installation as dining room.’ The design combines striking minimalism with modern uses of technology, to create an immersive environment. The jury felt that Di Stasio Citta was a standout winner that will live on for many years to come.

Commendations

Prince Dining Room – IF Architecture (St Kilda, VIC)

Future Future – Olaver Architecture (Richmond, VIC)

Stamford Park Homestead – Brahman Perera & Jason M Jones (Rowville, VIC)

Burleigh Pavilion – Alexander &CO. (Burleigh Heads, QLD)

Tayim Restaurant + Bar – Welsh + Major Architects (The Rocks, NSW)

Just over a year ago, Alastair and Kerry Houston purchased a 1849 former pub in Stanley – a small town their family had been regularly visiting for four years – on Tasmania’s north-west coast. The couple had been trying to work out how they could relocate permanently from Hobart to the town, so when this historic building went up for sale, they saw it as a golden opportunity.  ‘Looking for an employment opportunity and a family-focused lifestyle, this property seemed like the perfect fit,’ says Kerry.

The 170-year old building had most recently been operating as a ‘cheap and cheerful’ guesthouse, which the Houstons hoped to transform into timelessly-styled, luxury accommodation reflective of its historical origins. The project would also include an apartment for their parents to live in, and one of the suites would be converted into the couple’s family home. 

Rebranding and renovating the property took over 12 months, with the assistance of numerous creative people, from interior designers to copywriters. While the building had previously been renovated and was therefore in decent structural condition, these new works designed by David Denman & Associates provided a more cohesive and elegant aesthetic. ‘It was very mismatched and not really suited to the 1800s era,’ says Kerry. ‘Some areas were still derelict, like the room used to store the barrels, which is now our light-filled kitchen.’ Overall, the aim was to ‘create something special that travellers in Tasmania would like to stay in to get a sense of history, luxury and to enjoy this special village in the Cradle Coast region.’

Integral to the design process was researching the property’s history, which would inform the storytelling conveyed in the styling by Belle Hemming and Lynda Gardener of Inside Story. The name Ship Inn, for example, was the name of the building when it traded as a pub in the 1800s, so reinstating this felt only fitting. Belle and Lynda refined the couple’s vision upon visiting the property, and examining their amassed collection of artwork that would be incorporated into the suites. 

The guest house continued to operate throughout this renovation process, with suites simply closed one at a time as they were due to be updated. ‘Luckily the walls are so thick the noise did not carry!’ says Kerry. 

Major renovations of the Ship Inn are now complete and the accommodation is open for business. The family is currently taking a well-earned break before tackling the property’s final stage – converting the old billiard rooms next door into a guest lounge with undercover courtyard gardens. Stay tuned!

Book your stay at Ship Inn Stanley here! 

The Social Studio are celebrating 10 years of their grassroots social enterprise in the most fitting fashion (pardon the pun) – a bright and brilliant Art Scarf collection!

TSS have worked with 10 established and emerging artists to create a limited run of silk scarves (25 per artist, so act smart!), printed by Sydney based digital printers Think Positive Prints. Take your pick between the stunning designs of Ken Done, Romance Was Born X Kate Rohde, Beci Orpin, Miso/Stanislava Pinchuk, Atong Atem, Gian Manik, Michael Mitsas, Nathalia Suizi, Olana Janfa and Evi O.

In addition to this line of silk scarves, TSS are also hosting their annual fundraising gala at the Arts Centre Melbourne on December 5. Prepare for a night of delicious food, drinks from Innocent Bystander, entertainment by local musician Tiana Khasi and slam poet Abe Nouk, and a TSS student runway in partnership with Faint Agency. Journalist and SBS presenter Jan Fran will MC the evening and facilitate the auction of the signed and framed first editions from the Art Scarf collection.

Over the past decade, TSS have supported over 700 people from refugee communities with their training and work programs. In 2020, the beloved organisation will move into the newly developed Collingwood Arts Precinct. This fundraiser will help to support 20 student scholarships in this new space.

TSS founder Dr Grace McQuilten reflects on the success of The Social Studio, saying ‘fashion is a great way to connect with culture and tradition and bring it into contemporary culture. It’s also a vehicle for young people to assert their identity and pride in their cultural background.’ For Aussie art icon Ken Done, The Social Studio captures and celebrates ‘the best of Australia – commitment to creativity and an opportunity for all.’

Show your own commitment to the spirit of entrepreneurship, inclusion and creativity by wrapping a scarf around your neck, tying it in your hair, or hanging it on the wall!

Scarves are available for pre-order from 9am Thursday November 14th here. The Social Studio Fundraising Gala is on Thursday December 5th and are tickets available here.

The Woodworkers Barn is the second stage of Fabric Architecture’s renovation to a family home in Toukley, on the NSW Central Coast.

The main house on the site had undergone a major renovation in the previous year, but after living in the home, the client decided more room was needed, so the idea of a multi-purpose backyard space was born.

‘After meeting with clients to discuss their stage two, we designed on a steep, pitched ‘barn’ with feature timber doors making use of the client’s skill [as the owner of Loughlin Furniture],’ says Fabric Architecture director, Brent Fitzpatrick. The project showcases Loughlin Furniture’s craftsmanship on details from the Tasmanian oak barn doors and awning, to the American oak staircase and bulkhead feature.

The reasons for this barn aesthetic were twofold: to complement the architecture of the nearby main house, and incorporate high ceilings able to make the most of the structure’s small footprint. ‘The challenge was how to make a small footprint feel large and airy,’ says Brent. ‘This was achieved through the steep, pitched roof, allowing plenty of internal height. The loft is also stopped short of the front wall to create a large void and emphasise the volume. Velux skylights were also key to flood the interiors with natural light.’ The design also takes cues from classic Australian cottages that once lined this coastal peninsula. ‘Our Woodworkers Barn makes reference to the humble qualities of the cottage, while highlighting these details through exquisite craftsmanship,’ Brent says. 

This backyard space is now used in myriad ways: a gym; a place for the kids to have movie nights with neighbours, and as an extension of the home’s outdoor entertaining area. ‘They just open the big barn doors and the guests spread from the barn to the back deck, as it is all in close proximity and visible,’ explains Brent. 

‘It’s not often the end result is better than what we anticipate, but this was one of those projects. We must say it’s all credit to the clients passion, craftsmanship and style.’

Ben Shaw left the big smoke behind around 10 years ago. He was living in Melbourne with his wife, and while they loved the city, ‘it was time to get out,’ he says. The pair headed to Geelong, south-west of Melbourne, and soon after, Ben completed his permaculture design certificate. ‘It changed my journey in a really good way,’ he says. 

Living in the city, but having grown up in a country town and spending much of childhood in the garden with his parents, Ben was becoming increasingly aware of the disconnect many urban dwellers like himself had with the natural world. ‘I lost my connection’, he says. ‘I’ve always thought about our environment and climate change. Those things were brewing inside me, but it was studying permaculture that made me realise there was something I could actually do about it.’ 

And so, Ben began making a garden based on permaculture principles.  The concept of permaculture was developed by David Holmgren and Bill Mollison in 1978. At its essence, permaculture is an ecologically-based design system for sustainable human living centred around three core tenets: care of the earth, care of people, and return of surplus. David Holmgren describes it as ‘consciously designed landscapes that mimic the patterns and relationships found in nature, while yielding an abundance of food, fibre and energy for provision of local needs.’ Permaculture is most obviously connected to gardening, but its impact reaches far beyond backyards. For Ben and his family, it’s influenced all aspects of the way they live: their home design, energy use, waste and more.

Ben has truly been bitten by the permaculture bug. Not only does he tend to his own garden, he offers workshops in his backyard and consults with people wanting to integrate permaculture principles into their own gardens. ‘To put it simply, I want to teach people how good it is to grow your own food. Gardening is a great way for people to come to permaculture.’

While Ben’s backyard might be a standard suburban size, his ideas are big. His workshops are focused on making food growing as accessible as possible – giving people the tools to realise it’s not as scary as it sounds. ‘Changing the way we eat can make such a huge difference. Food is a beautiful way to encourage change,’ Ben says. 

It helps Ben’s cause that his garden is gorgeous. ‘People often think that veggie gardens are ugly, I want to reframe that.’ His garden is full of edibles, espaliered fruit trees and pollinator-attracting plants. The lawn is a useful space for his two kids, but he’s already envisioning transforming it into more growing space when they grow up. ‘I’m amazed by how it thrives. It gives me hope. That’s the power of nature, I guess. You can create – even in your own tiny space – an ecosystem teeming with life.’ His commitment is contagious too – he tells me of his friends down the street who have recently planted a bunch of fruit trees in their front garden. ‘Things like that are wins for me. I feel like a shift is happening’, he says. 

Ben’s garden means everything to him. He says, ‘This garden has changed our relationship with food, our kids, our community. It’s all grown from this one patch of earth. I’m really proud of what we’ve been able to achieve.’

Nyangulya Katie Nalgood is an artist and Walmajarri elder whose colourful and evocative works depict the birds of her home. Born at Nimingarra Station in 1975, she reflects on a childhood spent with a soundtrack of birdsong, thinking ‘I would like to paint these when I grow up…Birds are the first things we see, you know, when we wake up. See and hear.’

Jalmarra-jarti, All the birds have wings highlights how Katie, her Country, and its birds are connected and should all be considered as one, ‘you can’t have the sea without water, or the desert without the sand.’ The acrylic paintings offer characterful portraits of the birds of the Kimberly and Pilbara region, rendered in evocative brushstrokes that offer an insight into Katie’s relationship with the birds and country. From the jaunty legs of Ibis to the family of yellow, green and purple birds perched on a branch, these paintings are joyful and bold.

Katie works mostly from the Spinifex Hill Studio art collective in South Headland, travelling from Looma in the Kimberley Region. Katie explains ‘I like coming here to art; keeping busy, better than sitting at home. Painting and relaxing, that’s why I like coming here.’

‘Jalmarra-jarti, All the birds have wings’ by Nyangulya Katie Nalgood November 16 – December 14Paul Johnstone Gallery2/2 Harriet PlaceDarwin City, Northern Territory

Glassblower Amanda Dziedzic has been creating her distinctive glassworks for almost 10 years. I first met her at the JamFactory artist space in Adelaide, when she’d just completed her traineeship, and not long after, she was part of TDF’s first-ever Open House event in 2011, where we completely sold out of her glass bonsai! Several years on, and Amanda is stepping into a whole new realm with her practice, and we’re so excited to collaborate once more, and show her work in a whole new light!

When we started working on the TDF Design Awards earlier this year, Amanda was one of the first people we approached to collaborate with. We knew that if we were going to try to pull off an Awards ceremony that crossed disciplines, from small-scale craft practices  to big-budget architecture projects, we wanted our winners to go home with something that truly represented the very best in Australian design. And that’s where Amanda came in.

We spent months developing these distinctive one-of-a-kind glass trophies with Amanda, and when we finally released them to the world, we were overwhelmed by the response! It seemed like many of you wanted to take home one of these special keepsakes yourselves. And so, we got to work again!

The one-of-a-kind glass sculptures in Colourscapes are an extension of the trophies Amanda spent months refining for us for our Awards. These sculptural pieces, though, are bigger and bolder than the trophies, and really lean into this new technique of swirling and combining rich colours within the molten glass. There are a total of seventeen sculptural glass pieces in this exhibition, each one completely unique in size, form and colour. 

It’s been a big year for Amanda. In addition to working on our trophies, her existing product range (yes, those glass bonsai are still going strong!) and countless other commissions, Amanda also been building her own brand new glass studio, Hot Haus, in Heidelberg West – a huge leap! She’s SUPER excited to launch this new space with an Open Day on November 23rd – stay tuned for more info on that soon!

Can you describe the glass pieces in this upcoming show? What was the inspiration, and how have the works evolved?

These new works are a carry-on from those I created with Lucy and Annie (TDF’s art director) for the Design Files Awards – making those trophies was a real springboard leap into new things for me. It is rare to get the opportunity to really immerse yourself in new works, and this one was too good not to grab with both hands and run with it. I don’t think I have ever experimented with colour so freely, and given my love for colour, it seems nuts that this is the first time these works have come to life!

I was very cautious with both the colours and the sizes in the beginning. I was hesitant to mix certain colours and restricted myself to making quite small while I was doing my tests. As my colour application became more confident so did my sense of scale. I am very, VERY pleased with the progression and outcome of these works. I worked so hard on them and I am just thrilled to see the outcome – I’m very proud of them.

How long has the process of creating this series taken, and can you talk us a little through the process/materials used?

I would say this process has taken at least 6 – 8 months to craft from start to finish. I spent a lot of time thinking about the colour combinations, then spent a continuous block of two months where I worked solidly every week on developing the works. A large portion of this work relies on the colour itself, and glass colour heats differently. For example, a blue is notoriously soft and a red very hard to work with. This all starts to get a bit scientific as each of their make up (while still glass) is different.

Once I started to get a feel for what certain colours would do when combined I could start to manipulate and control the form. I feel as though I am starting to develop a language that I can decipher when making these types of works. Colour plus heat plus air and gravity = new works!

You’ve recently moved into a new space! How long have you been in there, what are some of the things you love about it, and what do you hope to achieve there?

Yes! Our new home! Laurel Kohut [fellow glass artist] and I have started a new glass studio in Heidelberg West called Hot Haus. For a long time, I dreamt of my ideal working studio and what I wanted in a space. Lots of light, greenery, colour, music, good equipment and space to grow. I work so hard, I wanted to create a space where I was stoked to come to work every day. I think I can honestly say we have achieved that!

We had the excellent guidance of my mate and builder extraordinaire, Dingo Brown – he built our dreamy arch-windowed peach design pods which have become an iconic drawcard for the studio, and amazing shelving unit in the showroom. He is a bloody legend (who else agrees to make arch windows happen and accepts designs scribbled on the back of a Bunnings receipt?)We have had so much help from friends and family, our logo was designed by the queen herself, Beci Orpin! We are very proud to be throwing open the doors on Saturday, November 23rd and celebrating with a makers market to celebrate [check back into TDF for more on that this Wednesday!]. 

This year has been huge for you. How do you feel about all these massive achievements, and what have you learned about your practice/yourself?

It has been a MASSIVE year. If I actually sit still and think about it I almost can’t believe it. On top of working for TDF on the Design Awards, a solo exhibition, building a studio and running my business, I’m also raising a little boy! Cassius just turned one in July, it is mental!

I am learning that you can craft the life you want. It isn’t easy by any feat, but it is possible. Laurel and I talk often that we are crafting our own destinies (as corny as that may sound), but it feels amazing to have the power to do that. We both work so hard and I really believe we are on the cusp of something great.

I think what I have learned most from this exhibition is my working habits. I need to be working on the pieces constantly to achieve progress. I need to be surrounded by them and I need continuity to create. Perhaps one of the most exciting things about a new studio will be having unlimited access to my material. Being able to experiment and push new ideas will be monumental.

Please join us, and Amanda, for the opening of Colourscapes next Saturday, November 30th!

All the works in this show are now pictured on the TDF Collect website, and are available to purchase via email from today – inquiries, please email art@thedesignfiles.net.

Colourscapes by Amanda Dziedzic
Saturday November 30th – Thursday December 5th
TDF Collect
14 Little Oxford Street
Collingwood, Victoria

Saturday Nov 30th, 10:00am – 5:00pm, with opening drinks from 2:00pm
Sunday Dec 1st, 11:00am – 3:00pm
Monday Dec 2nd, CLOSED
Tuesday Dec 3rd, 10:00 – 4:00pm
Wednesday Dec 4th, 10:00 – 4:00pm
Thursday 5th, Dec 10:00 – 4:00pm

This exhibition is generously supported by Dulux, Magnum and Queens Wine, Sample, and CAPI. 

The brief for this project was to transform a small and dark Edwardian home into a light-filled two-bedroom, two-bathroom home with a generous study space. Director of Rara Architecture and Interior Design, Wesley Spencer, describes how the small footprint (just 108 square metres) presented challenges, requiring the budget to work hard to achieve the intended results!

The key strategy of this project was ‘to bring light into the dwelling and to introduce the feeling of spaciousness,’ Wesley says. This has been achieved in the soaring raked ceiling of the living space, and by introducing a mezzanine, where extra space has been cleverly crafted!

With a bit of back and forth about how best to interpret to the original style of the home, the resolution was to embark upon a new build ‘that respected neighbourhood character without looking like a mock-Edwardian.’ Wesley describes the resulting structure as a ‘statement piece’ of architecture that respects its Edwardian past with its weatherboard exterior, front verandah and pitched roof, ‘but folded into the design are other influences that brought out the most of the home.’

The characterful name comes from the front and rear facade that resembles a cuckoo clock, but the interiors are splashed with an unconventional, bold use of colour. The bright orange kitchen and midnight blue in the bedrooms creates distinct zones, while the living area aesthetic is more restrained.

The windowless bedroom presented a particular challenge for the architects. In order to transform the space into one of warmth and relaxation, the designers drew upon ‘an Egyptian tomb, or Italian church ceiling with a blue night sky painted on it’ to create a sense of a roofless room!

From the upside-down arch at the front window, to the plywood ‘box’ vestibule that links the old and new, and the gently pink verandah, there is plenty to go cuckoo about in this innovative and bold home.

With just a few weeks until summer is officially here, my thoughts have turned to fruits and vegetables which are at their best during the warm months. While eggplant is usually available all year round, the humble vegetable peaks in summer and keeps on giving well into autumn. It is a versatile vegetable – cooked over an open flame to create a smoky dip or salad, grilled and then marinated or added to stews and curries. However, one of my favourite eggplant-centric meals has to be eggplant parmigiana or parmigiana di melanzane – it’s the dish that turned this non-eggplant lover around, just a little.  

This dish is comforting and wonderfully simple, albeit a little time-consuming. Simple as it requires few ingredients, time-consuming as the eggplant slices need to be fried in a good amount of oil before layering and baking. There are quicker, and less oily, ways to get the job done, but I assure you, it is well worth going down the shallow frying route for a silky texture which makes this dish so special. Many recipes also call for salting eggplants before cooking which is theoretically done to leach out any bitterness. Since most modern varieties of eggplants have had the bitterness bred out of them, I skip this step.

Parmigiana di melanzane is a southern Italian dish that uses tomatoes, eggplant, basil and mozzarella – the parmesan is the outlier hailing from northern Italy. There are many theories in regards to the origin of the name, the most fascinating is that parmigiana originates from the word parmiciane which, in some parts of Sicily, is used to describe Persian wooden shutters. A lovely image to embrace as you fry and layer each slice of eggplant in the dish.

While commonly served as a side dish to roast meats, I prefer this dish to be the main event, served simply with a sharply-dressed salad and a good hunk of fresh crusty bread for mopping up all of the juices.

JULIA’S Eggplant Parmigiana (serves 6-8)

Ingredients
1.2kg eggplants, siced into 4mm thick rounds
Oil for frying
100g parmesan cheese, finely grated
400g buffalo mozzarella or fior di latte, thinly sliced
Large handful of basil leaves plus extra to serve

Sugo
2tbsp extra virgin olive oil
4 cloves garlic, finely chopped
650g passata
A few basil leaves and their stalks
Sea salt

Method

For the sauce, gently warm the olive oil in a medium saucepan over a low heat. Add in the garlic and cook until just softened but not coloured. Add in the passata, basil and a good pinch of salt. Increase the heat to medium and cook until slightly thickened (8-10 minutes). Set aside.  

Preheat the oven to 180C.

Fill a deep wide fry pan with 1-1.5cm of olive oil and place on a medium-high heat. Have a tray with plenty of absorbent paper at the ready. When the oil is hot (a slice of eggplant should sizzle immediately), fry the eggplant slices in batches until golden on both sides and drain well on the absorbent paper.

Have all of your ingredients and lasagne or baking dish at the ready – now it’s a matter of layering everything up. I use a 25 x 28 x 7cm but most sizes will work. Slightly smaller and the finished dish will be taller, larger and it will have less layers.

Spoon a thin layer of sauce on the base of your dish. Then arrange a layer of the fried eggplant, slightly overlapping each other, followed by another layer of sauce, some basil leaves, mozzarella slices and a good scattering of the parmesan. Repeat until you have used all of the ingredients, finishing with a layer of sauce and then a scattering of parmesan. Bake in the preheated oven for 30-35 minutes or until visibly bubbling. Allow to cool for at least two hours, even longer is ideal. If you cut the parmigiana whilst hot, just like with lasagne, it will be incredibly sloppy. Just before serving, top with extra basil leaves and serve with a salad and crusty bread.

What else I’m cooking with…

New season zucchini cooked with olive oil, garlic, mint and salt until soft. Stirred through pasta or eaten on grilled bread. Also their flowers, stuffed with mozzarella and anchovies, battered and fried.

What I’m eating…

If you want your dose of eggplant parmigiana in a sandwich, I would highly recommend getting it at Romans Original in Footscray. Their meatball sandwich is also top! In fact, everything is great and generally is just a very good vibe.

You can follow along with Julia on Instagram and find more fab recipes via her website! 

When fashion blogger Carmen Hamilton, founder of Chronicles of Her, and her partner bought this 1940s Tamarama apartment, it had sadly been stripped of its original features. Keen to bring the space back to life, Carmen slid into the DMs of Decus Interiors, and asked them to work their magic!

‘For this young and informal couple, we were asked to create a space which was utterly unique, yet appropriate to its beachside location,’ says Alexandra Donohoe Church, founder and managing director of Decus Interiors. ‘The client specifically requested we avoid a typical white kitchen, asking that we create storage (which previously did not exist), and increase natural light throughout to full advantage – all confined within what is deemed appropriate, and within context of an original 1940s apartment.’

The resulting design encompasses key elements of both owner’s personalities, who Alexandra describes as fun, hardworking, practical and, (obviously) stylish! ‘The design purposefully spoke to the client’s youthful and fashion forward aesthetic sensibilities, while not stamping ‘fashionable’ all over it,’ she says. ‘We’d describe the intent for earthy elegance and fun as truly reflective of the clients themselves.’

Details that most capture this spirit include the home’s feminine, glossy, pink archway, alongside humble, hardworking materials such as whitewashed plywood and stainless steel. The kitchen is the clear showpiece, with its burgundy veined Calacatta marble and custom-made brushed brass lighting pendant by Paul Matter.

The apartment has also been updated to better take in its ocean views, by whitewashing the formerly walnut-stained Baltic pine floorboards, and introducing a mirrored kitchen backsplash that reflects a muted ocean vista.

Several features provide double-duty practicality, such as the large mirrored pivot door that conceals a walk-in pantry, and the cantilevered stone island bench that can also function as a six-seater dinner table.

Tying the home together is the couple’s pre-existing collection of vintage furniture and contemporary art work. Alexandra describes the overall aesthetic as a ‘deliberate marriage of opposites’ – a relaxed interior that can be elevated when occasion arises.

Georgia Ezra and Richard Morris purchased this Spanish Mission-style home in September 2018, after an agent sent through pictures with a hunch it would be perfect for them. When they inspected it, they knew it needed significant work, but could feel ‘in their bones’ how they would configure the space and transform it into a home. Georgia’s interior design skills paired with Richard’s building expertise made them a perfect team!

The previous owners had lived in the property for 40 years, and over that time extended the home for their growing family, as well as pouring much love into the garden – leaving Georgia and family with established olive, mandarin and mulberry trees. But the layout of the home didn’t suit the new owner’s needs, so Georgia and Richard embarked upon a renovation. Georgia explains ‘we completely gutted and redesigned the entire home. Nothing left unturned!’

The redesign included three new bathrooms (fitted out with Tiles of Ezra tiles, of course!), new windows, wiring, joinery and a complete new layout. Plus some new internal archways to ensure the Morocco-meets-Mallorca character really shines through! Georgia explains ‘for me, a home is about taking you off the streetscape and into your own escape, so it was all about taking everyone who walked through that front door on a journey.’ This means the interiors are focused on evoking a feeling, rather than creating a ‘perfect’ space.

The idea was to create a tranquil and calm space, and Georgia highlights that many of the elements of the home have been custom made. Georgia designed the wall scones and feature pendants, and had them made in Melbourne, and even the bed linen was custom made for this home. Through careful layering of textures, natural materials and furnishings, Georgia has created a uniquely serene home here, which perfectly reflects her distinctive Mediterranean-inspired  aesthetic. The designer concludes – ‘it really was not challenging to make this house a home.’

Georgia documented this remarkable home renovation on her blog – check it out here.

Unlike some of its Toorak neighbours, the SLD Residence isn’t a flashy house.  This sleek, understated yet luxurious home doesn’t make big design statements, but seeks to simply enrich the lives of its family residents.

The project is remarkable for its restraint, shown in the refined material palette, control of natural light and views, and integration of built-in forms that require minimal additional furniture. ‘Limiting our palette of materials helps us focus on form, space making and the expression of details,’ says Robert Davidov, director of Davidov Architects, who designed the home.

The client’s number one request was for the home to provide physical and visual shelter from its busy street entrance. A monolithic facade paying tribute to the architecture of the 1968 Leslie Perrott ‘Troon’ apartments, located diagonally opposite the home, was devised for this purpose. In contrast, the interiors are light and breezy, but feature similar materials, to form a cohesive overall aesthetic hinging on durability and timelessness. ‘I do like to explore the relationship between inside and outside – the blurring and the contrasting of these conditions,’ says Robert Davidov. ‘Using the same materials – sometimes with different textures and treatments – allows for these transitions to blur, but also for the effects of time and the elements to be expressed slowly over time.’

Inside, the integration of shelving and recesses into the structural interior design minimises the need for freestanding furniture. Robert explains, ‘For me, the built-in plinths, bars, benches and shelves are intended to add scale and legibility to the very simple spaces’.

While this entire home’s design is underpinned by practical concerns, Davidov’s serene design response is nevertheless, exceptionally beautiful – and certainly destined to stand the test of time.

After five years working (and living, with a small baby!) in the original Lygon Street Nursery site in Brunswick, Michael Khalil and his team have packed up their plants and moved down the road to their new location. The new space combines everything under one roof, and we’re talking literally everything a green thumb could ever want or need!

Micheal has been in the horticulture and landscape industry for 15 years, and is still as passionate as ever. He explains that when he moved to Brunswick over a decade ago, the area was starting to experience a ‘real explosion of cafes, bars and apartments buildings.’ Drawing on the success of CERES Community Environment Park and Fitzroy Nursery, Michael was inspired to create a welcoming space that catered to all demographics. He is driven by the belief that ‘we need more green around us, in the inner city especially.’

In addition to his passion for plants, Michael is an advocate for keeping bricks and mortar retail trading alive. He explains ‘I think it is a really important part of maintaining a community, where people can have contact with one another, including me!’ The new space carefully combines retail with the environmental specificities required for keeping the stock alive. Michael explains that a nursery requires careful lighting, sufficient drainage – and temperature control to avoid a tropical green house! The transformation of the previous Lygon Hardware store, as well as a general re-branding was completed with the help of Press Room Partners, Huw Severn Smith, and Fishbone Glass.

Visitors to the new store have a jungle of options to choose from, but Michael highlights that Devil’s Ivy, Monstera Deliciosa and Ficus plants are eternal indoor favourites. He describes ‘for outdoors we always encourage people to consider native plants, Grevilleas, Eucalyptus and edibles.’

For those with a tendency to kill their pot plants, Michael generously offers some final words of advice. In addition to offering a great selection of books to help build confidence and knowledge for beginner gardeners, Michael says ‘my number one piece of advice is to choose the space before the plant, a common mistake people make is they fall in love with a plant and then realise they don’t have a suitable environment for it.’ And Lygon Street Nursery are sure to be able to help you find a suitable plant for any urban space!

Lygon St Nursery

245 Lygon Street
Brunswick East
Melbourne, Victoria

Monday – Closed
Tuesday – 10am-5pm
Wednesday – 10am-5pm
Thursday – 10am-5pm 
Friday – 10am-5pm
Saturday – 10am-5pm
Sunday 10am-4pm

Photographer and artist Victoria Zschommler has always been drawn to photography, and after studying at school, learnt from fashion photographers in Australia before embarking on a journey to London. She had a successful commercial photography career working for the likes of Vogue, Vanity Fair, H&M, Burberry (and many many impressive others!). Returning to Australia this year presented Victoria with an opportunity to spend more time on her own work, and to realise a project she has been mulling over for several years.

About A Day (Diurnal Rhythms) sees Victoria collaborate with Melbourne florist Lottie Phillips, and uses evocative floral still life photographs to capture a three part narrative – from dawn, to vibrant day, and final fading decay. Victoria explains the project as a ‘story of the passing of time’ that aims to bring attention to small fleeting moments of our days. For Victoria, the exhibition is about highlighting the preciousness of the overlooked – the momentary joy of a sunrise, or the fast life of a flower.

Victoria and Lottie are old friends, and this collaboration developed with ease. The project was shot over the space of the year, with the initial sunrise images created at the Mornington Peninsula, and unexpectedly shaping the narrative of the exhibition. By the third shoot of the desaturated and subdued flowers, the idea of life cycles and time lapse naturally emerged!

The exhibition captures a European sensibility in referencing the old masters style of still life paintings, photographed in glowing Australian light! Victoria highlights ‘I couldn’t have made this series in the same way anywhere else in the world.’

The exhibition opening will feature installations by Lottie, that mimic the flowers in the series, displayed to decay in real time over the duration of the show. The richly textured photographs are brought to life by their 3D counterparts, as a gentle reminder to stop, pause and appreciate the experience of time passing.

About A Day (Diurnal Rhythms)
Opening 6pm – 9pm November 22nd
Exhibition runs 12 – 6pm daily from November 22nd – 29th
At the above 
Level 1, 198 Gertrude Street
Fitzroy, Victoria

Lisa Congdon

An artist, illustrator and author, Lisa Congdon is one very busy lady! Lisa’s playful touch lends itself to many contexts, whether it’s a collaboration with Comme des Garçons, MoMa or even Harvard University, her unique style will quickly lift the spirits of any brand she’s working with.

 I first stumbled upon Lisa’s work on Instagram (of course) but it wasn’t until hearing her speak at Adobe MAX that I learnt she only came into the world of professional illustration relatively late in life, when she was 31 (she is now 52). She explains, ‘I’ve always done illustration as a hobby…I went from this person with no artistic training or connection to art to this person who works with big clients, has 330k followers and is asked to run classes!’

Her talk at Adobe MAX was titled Finding Your Voice; Uncovering The Holy Grail. This is a topic which so many creatives discuss – the importance around ‘finding your voice’ and uncovering where on earth it’s hiding! Lisa reassures us all that ‘There’s no clear picture of what finding what your voice looks like, your voice is always morphing and changing.’

Lisa’s talk was utterly inspiring, even for someone (like me) who doesn’t consider themselves an illustrator or artist. ‘Your voice is your story. Everyone has a story. Your story matters!’ she said.

Lisa finished by giving us all a parting goal – ‘Do something creative every day, even for a few minutes’. Such a simple task which we can ALL take part in – even if you’re not in the creative industry. Thanks Lisa!

Annie Atkins

To me, being a graphic designer within the context of filmmaking seems like one of the most exciting jobs out there – and Annie Atkins is one of the best! She’s worked on HUGE big-screen films including Wes Anderson’s Isle of Dogs and The Grand Budapest Hotel, as well as the recent version of Joker, just to name a few.

Annie’s presentation was highly entertaining, opening our eyes to the world of graphic design within cinema, explaining that once we see it, ‘we can’t unsee it’. And she’s right – it’s EVERYWHERE and can unknowingly become quite iconic! Think about it, The ‘Golden Ticket’ from Charlie and the Chocolate Factory or Harry Potter’s acceptance letter from Hogwarts, the list goes on and on! Even as a graphic designer, I never really thought about where these things came from. But now I can’t stop thinking about it! Annie explains that ‘Maybe 90% of what we make for a film belongs firmly in the background, and sometimes what we create isn’t actually for the cinema audience at all.’ 

Of course, one of her greater known clients is the one and only Wes Anderson. For those of you who are familiar with his films, you would know that EVERY little thing is considered. So being the head of graphic design for a Wes Anderson film such as Grand Budapest Hotel is a huge deal! Annie explains that unlike most films, ‘Wes puts graphic design at the forefront of his films’.  She explained that he is very hands-on, working extremely closely with the creative department. There’s a scene in Isle of Dogs where the main character stands in front of a yellow wall with eighteen Japanese archipelago maps on the wall. Each of these was individually HAND DRAWN! Annie showed us one version of these maps in her presentation and zoomed in…you see the land, get a little closer and you’ll see the states, closer again, the mountain ranges, the river names, the streets! It is out of control. In the film’s final cut, the maps are blurry figures in the background. We never get to see the immense detail of the beautiful maps. BUT it’s all about context. 

Needless to say, I could have listened to Annie Atkins talk all day, I would love to be her intern for a week to see what she gets up too, as I am sure her hard work was toned down by her modesty! What a woman! 

Theresa Fitzgerald 

Okay, so I really think we need to take our Dream Job column to Adobe MAX next year – because there is no job out there quite like this one! Hearing Theresa Fitzgerald (the creative director/graphic designer for beloved children’s TV show Sesame Street) talk at Adobe MAX opened my eyes to the importance of design in the context of children and education.

Sesame Street’s morals, values, life lessons, manners and just basic friendliness touches a special place in so many hearts, even as adults. It’s hard not to laugh when the cookie monster comes onto the scene to excitedly gobble down handfuls of crumbling cookies, followed by curiously raising sometimes hard questions about the important things! It’s equally hard to hold a straight face when watching him trying to communicate with Siri for this Apple commercial back in 2017 – how does his humour never get old? How have they managed to maintain that magic? 

Theresa discussed Sesame Workshop, a not-for-profit doing great work to meet children’s needs in more than 150 countries within classrooms, on screens and in communities with their hero characters. Theresa explains that the Sesame Workshop mission has always been to help kids ‘grow smarter, stronger and kinder’, and you can see the difference it’s already making. What a feat! 

Continuing on with her captivating presentation, Theresa also shared a range of recent projects she has been working on at Sesame Street, including the wonderful 50th Season logo! Even out of context, anyone would know immediately where this logo belongs, Theresa has managed to squeeze every essence of Sesame Street into one very cute design! She also shared with us the character profile cards of some of our favourite members. These are properly designed ‘passport’ style cards, with a profile photo, along with general information such as age, birthday and to our great humour, the personality traits of that character. 

I could talk about Theresa and her incredible contribution to Sesame Street all day, because is so much more than a children’s television show, BUT I will leave you with the same thought that Theresa closed with on teamwork, which I’m pretty sure could easily be translated into a conversation between our good friends Bert and Ernie. Theresa urges us to ‘Grow with intention talent and temperament. There’s no ladder’. Such good advice, and not always easy to remember. I strongly urge you to read more about Sesame Workshop and what good it’s doing for the world!

Aaron Draplin

Even though I have already heard Aaron Draplin speak once before at  Adobe MAX 2017, I couldn’t help but sign up to his talk again. Draplin’s super casual and practical approach to design makes for a very easy going lecture, which is a welcomed treat amongst some of the tech-heavy talk.

This year Aaron decided to take a different approach to his usual presentation style where he shared his Adobe illustrator tips and tricks – or as he called it ‘The Draplin Design Company’s Deepest, Darkest Adobe Illustrator Secrets’. A risky way to run a presentation where you’re plugged in live, and your every move is being projected for all to see in real-time, notifications and all! I think I can speak for most graphic designers out there in saying that the moment you have someone looking over your shoulder while you’re trying to operate a clipping mask, you suddenly become totally incompetent. BUT Aaron conquered this task with ease and great humour. He took us through a range of very simple Adobe Illustrator tips and tricks which always trip us graphic designers up, such as (and excuse the graphic designer talk here) – the perfect colour selection practices, getting those nodes to snap to the line and some snazzy symmetry and alignment tricks.

Aaron has always been a promoter of self-driven projects. Although he has worked for some HUGE clients (like, NASA huge!) he still finds time to draw for himself. He carries around his ‘field notes’ notepad with him everywhere so when the moment strikes, he can jot down anything that comes to mind or sparks an idea. He emphasises how LUCKY us graphic designers are to be able to use these programs every day, and I’m totally with him on that! ‘Adobe Illustrator is not only used by us graphic designers making fun graphics, but it’s used to save lives by people who draw up specs of little tiny instruments which will end up in someone’s heart one day to keep them alive, it’s AMAZING’ he stressed with excitement!

Alex Darbyshire

I can’t tell you how proud I was to see an Aussie face up on the stage at Adobe MAX! Alex Darbyshire is a super talented emerging designer who studied Communication Design locally at Swinburne University. Hearing from a young, enthusiastic, fresh and extremely talented designer reminded me of how exciting it is to be a graphic designer today and ignited that enthusiastic energy which tends to wear off after a few years in the biz. Alex’s passion for design is contagious and his optimism is encouraging to say the least! 

Alex took us through his extremely productive journey as a graphic designer so far. I remember the feeling of graduating from university, you have this great confidence but utter terror of working with ACTUAL graphic designers. Are they going to criticise my kerning? What if they laugh at how I set up my artwork? It’s so daunting, but at the same time, you feel invincible. Alex captured this thought process perfectly…It’s the feeling that ‘I can do anything…but can I do anything?’ 

He reflects on some advice given by one of his lecturers – ‘We design for strangers we will never know’. Such an important thing to remember is so easily forgotten, especially when you start your first job. You think you’ll immediately get a gig to design a cool publication with a client that has no limits and loves your specific style and has a huge budget, but the reality in most cases, and also in Alex’s case, is that you’re probably going to be designing packaging for a muesli bar brand with no creative control or consideration and little-to-no budget. And that’s life!

Based on Alex’s body of work so far I have no doubt that he is really going to make his mark in the world of Australian graphic design. Already his folio is established,  sleek, considered and holds an elegant touch of sophistication. I can’t wait to see where this crazy world takes him! Watch out for this one!

Mark Conlan

I had the great pleasure of having a one-on-one chat with Mark Conlan at Adobe MAX this year, it was nice to talk with another guest attending this epic creative conference and compare notes! Mark is a multi-disciplined illustrator originally from Dublin and now living right here in Melbourne.

Mark’s skill set is baffling, his very distinctive illustration style lends itself to many contexts, and thoughtful animations. For someone who didn’t actually study graphic design, he’s managed to work his skill set up to be recognised and HIRED by some BIG SHOTS including the New York Times, and Coca Cola!

Mark and I had lots to talk about, which I will go into more detail about in the coming weeks in a special studio visit with Mark – BUT but one thing which I’ll end this article on are some insights that Mark shared with me, which I think are helpful for anyone interested in attending Adobe MAX 2020!

Much like the rest of us, Mark explains that his ‘biggest takeaway from Adobe MAX this year has to be the sense of community.  Something that is SO important for the creative world, as simple as that – COMMUNITY! That’s what we are and what we need to be! I also think there’s something so nice about being surrounded by ‘your people’ where you can freely talk about the new pen tool features or how to build the perfect gradient and not get eye-rolled…who’s with me?

Annie was a guest at Adobe MAX 2019 and had the best time ever. Thanks, Adobe! 

This mid-century home was originally designed by architect Glynn Nicholls (son of Eric Nicholls – Walter Burley Griffin’s Australian business partner) in 1959. The property faces secluded bushland on Sydney’s Middle Cove, providing magical water views of Sugarloaf Bay, framed by parted gum trees.

The house was purchased by a tech guru two years ago, who wanted to maintain its architectural identity, but expand the footprint to sleep up to 14 extended family members at a time. Naturally, given the owner’s profession, the renovation also needed to integrate the latest technology!

8 Squared were tasked with designing two new wings for the home in a style sympathetic to the original structure, while the job of interior designer Suzanne Gorman, creative director of Studio Gorman, was to make the spaces feel cosy and inviting. ‘Our role as interior designers was to manage materiality throughout both the interior and exterior of the home, to craft the cohesive look between new and original’ Suzanne says.

Much of the interior inspiration derived from the home’s restored modernist features, including its butterfly roof, exposed structural steel beams, shiplap panelling on the façade, bagged brick interior walls, timber windows and doors, and fine steel wire balustrade on the upper deck.

The California native client’s relaxed personality and beloved yellow combi van (nicknamed ‘Little Miss Sunshine’ after the 2006 movie featuring a similar van) was a further point of reference for Suzanne. ‘Little Miss Sunshine was parked behind a fixed-glass viewing panel adjacent to newly relocated central stair, allowing glimpses of her sunshine form while passing through the home,’ she says. The van’s yellow colour is referenced in various rooms, alongside a sparing use of primary blue and red reminiscent of the famous Rose Seidler House. These splashes of colour, such as in the sunny children’s bathroom and the various bathrooms, instil a playful energy in the home, contrasted with limed and natural oiled American oaks and lashes of white.

Textured, natural stone materials were also integrated into the interiors, in tonal colours referencing the local landscape. ‘Needless to say, the bushland setting was also enormously inspirational in our design response for the outdoor areas and in the master suite, which virtually hangs in the surrounding bush of Sugarloaf Bay,’ Suzanne says.

Among the impressive tech features of the updated home is a cave-like cellar hidden behind a bookshelf, which can only be accessed by moving a particular book! Suzanne describes this space as a ‘moody escape’, created in contrast to the fresh white palette throughout the main home – ‘incorporating the client’s love of tech, and, surprise, red wine!’

The combined efforts of Studio Gorman and 8 Squared have created a home that remains faithful to its 1950s origins, but with the space and tech capabilities to serve generations to come!

When Cera Stribley Architects were engaged to design this Sorrento project, there was already a small shack and a pool on the site, but the property’s easterly views and potential for northern light weren’t being harnessed. The client was seeking a home that took better advantage of these natural assets, and was capable of hosting several guests across multiple generations at once.

Recognising the various needs of these guests, Cera Stribley imagined the floor plan as a series of self-contained spaces, each with their own bedroom wings, and connected by communal spaces. ‘On both floors, open-plan design interventions are implemented to provide flexibility across the spaces and floors. This creates ‘apartment-like living’ in the sense that the home could be used by a number of families cohabiting at once, providing the opportunity to choose how much contact they have with each other,’ says Chris Stribley, managing principal of Cera Stribley Architects.

The overall design aesthetic draws on Australian vernacular architecture, particularly in the materials used, which reference the classic Mornington beach boxes. ‘The use of natural timber that ages with the design was purposefully selected to eventually blend with the grey trunks of the Moonah and tea trees, to achieve a bespoke architectural outcome,’ Chris says.

There’s also a nod to mid-century design in the clean and enduring style, ‘other than the curve of the building, which was a direct response to the site levels and orientation,’ explains Chris.

Timber, exposed block work and polished concrete were selected for their timeless qualities and ability to beautifully wear over time in line with the surrounding landscape. Timber also has the effect of introducing warmth into the otherwise minimal space, which is juxtaposed with polished concrete floors.

Retaining the existing pool on site was one of the most challenging but ultimately rewarding elements of this project for Chris. ‘We needed to ensure there was a level of surveillance of this area, while still maximising the northern aspect and views to the east. In the end, it was one of the aspects of the design that I really liked, and I feel as though it achieved a unique outcome that worked really well,’ he says.

One of Chris’ favourite features of the project is the battened timber entry. ‘There are two secret doors in the space, and when you walk in, it’s a dark and moody space. The curves guide you up to the main living area, which is where you are hit by how light and bright this space is.’

Whether it’s quiet downtime after a busy day at the beach, or quality family time around the fireplace or pool, the Parkside Beach House is sure to get a work out this summer!

For all the excitement it brings, Christmas does tend to also bring about its fair share of anxiety… and the stress of Christmas Shopping is definitely a contributing factor. It just feels like every brand is shouting so loudly for attention at this time of year – pick me, pick me!

This week, we’re cutting through that clutter, with our gift ideas from five fantastic local brands, and a host of special deals just for TDF Readers!

Dinosaur Designs

The iconic Australian brand that needs no introduction! We’re lifelong fans of Dinosaur Designs handcrafted resin homewares a jewellery, and the brand have wowed us again this season with their newly released ‘Joie De Vivre’ collection.

Featuring homewares and accessories in lush hues and new shapes, Joie De Vivre brings together a bright, summery palette of Melon, Guava, Honeycomb, Dark Turquoise and refreshing Snow Swirl.

The offer :
Spend $200 or more online during the Christmas Countdown period, and receive a beautiful Rock keyring – available in your choice of colour ways. (no promo code necessary)

Shop Dinosaur Designs Now!

kikki.K

It was so inspiring to meet and interview kikki.K founder Kristina Karlsson for our podcast earlier this year – and it’s been brilliant to see her excellent book, ‘Your Dream Life Starts Now’ taking flight this year!

kikki.K’s Christmas message this year is to be ‘a giver of good’. To this end, they’ve created a range of meaningful, thoughtful gifts that will help loved ones dream big, get organised, make goals for the year ahead, and start 2020 inspired and ready to leap into action! We’ll share our handpicked kikki.K gift guide on Friday.

The offer :
kikki.K are offering 30% off TDF’s Top Picks for Christmas – use discount code TDFXMAS. *Not available in conjunction with any other offer.

Shop kikki.K Now!

Bed Threads

We’re always partial to a fresh new bedlinen update, and this year we have Australian linen specialists Bed Threads on our wishlist! Their soft, scrunchy 100% French Flax bedlinen is ultra luxurious, yet fairly priced, because they sell directly to customers online (you won’t find them in any retail stores).

Bed Threads linen comes in a palette of 16 delicious colours, complemented by a small edit of homewares. They’re also a certified carbon-neutral business!

The offer :
TDF Readers received 10% off everything during the campaign period – use code THEDESIGNFILES at checkout.

Shop Bed Threads Now!

Thames & Hudson

Thames & Hudson is a much loved publisher of titles across architecture, design, art food and more. Whether you’re shopping for Mum, Dad or workmates, Thames & Hudson have all bases covered – and let’s be honest, you really can never have enough books!

The Offer :
Thames & Hudson are offering a staggering 30% off TDF’s Top Picks for 2 weeks only – use discount code TDFXmas30.

Shop Thames & Hudson Now!

Blackhearts & Sparrows

Emerging as Melbourne’s go-to purveyor of interesting, hand-selected wines, craft beers and ciders, Blackhearts & Sparrows are now in 11 locations across Melbourne, Canberra and Tasmania! Not bad for an independent retailer which first opened in 2006 with just one small store.

We’ve learnt a LOT about great wine whilst perusing Blackhearts’ shelves to create our very own gift wishlist for you – our top picks include an awesome 3-pack of natural wines, a summer gin-mixer pack, and a brilliant new non-alcoholic wine substitute too! We’ll be sharing all these selections and more in detail on Friday – stay tuned!

The offer :
Receive 10% off the TDF’s Top Picks – no need for a code, discount will be applied at checkout to all products in the TDF Top Picks! Offer available online only.

Shop Blackhearts & Sparrows Now!

All discounts / deals are LIVE now, for two weeks only! (Ends Sunday December 8th)

Throughout the rest of this week, we’ll be diving into each brand individually, sharing our handpicked gift ideas for all the Mums, Dads, girlfriends, boyfriends, workmates and kids in your life.

We hope you find our Christmas Countdown a fun and easy way to shop, stress-free – and support local this Christmas!