It’s interesting how things sometimes end up in your lap—in this case, it was a bag belonging to a friend of a friend that ended up on my kitchen table, and things developed from there. Those of you who already have read a few of my interviews from this interview series know that I have a tendency to stumble upon people and things that catch my interest. Well, the bag on my kitchen table sparked my interest and led me on a quest to find out more about the woman behind the brand. Turns out, she’s been staying in Copenhagen for a few months. Lucky me!

Read on to learn how a woman born and raised in Australia ended up starting a bag brand in Guatemala.

Core77: What inspired you to start designing?

Athena Maroulis: I’ve always loved colors, patterns and dressing up since I was a kid. My mother is an architect and both of my parents have travelled a lot and have an appreciation for art. Our house was full of paintings, art deco furniture (my dad’s obsessed), African jewelry, millinery ribbons (my great grandmother was well known hat-maker) and exotic fabrics amongst other things. I think that growing up in this kind of environment makes you conscious of shapes, colors, textures and how things are put together.

Other than that, I have been sewing since I was around 13 and learned how to make garments. From there, I placed top 10 in the state in my final year textiles and design and knew I wanted to have my own fashion business. It seems that design has been in my life from an early age.

Being exposed to items from so many different cultures most have triggered your imagination on many levels. Do you remember any particular piece that you found extra interesting?

It’s hard to pinpoint one piece specifically. I have a huge appreciation for structured lines and symmetry and I think it’s due to the art deco buffet table, drink cabinet and side board that we had in our home. However, I think my favorite thing (now and forever) has been dressing up, so I’ve probably spent countless hours fossicking through and trying on the fabulous pieces in my great grandmother’s old costume jewellery box. There are the most amazing chintzy, glitzy, rhinestone encrusted statement jewellery pieces in there. I still find them so fascinating and beautiful.

You now design and produce your own bag brand called Athinaeum. What brought this about?

After I quit my job at an advertising agency, I had been traveling for many months in South America and was heading north. I had missed my onward ticket to Spain after enjoying Carnival in Brazil. Alone in Panama, I had the flu and was at a loose end, not knowing what to do. I was thinking of heading north to the States but wanted to go through Central America. After a weird series of serendipitous events, I accidentally ended up with a plane ticket to Guatemala.

It hadn’t been part of my plan to fly there, but I changed my mind when I heard about a yoga and meditation retreat there. I decided that it was what I needed to gather my thoughts, recharge and figure out my next steps. After completing the course, which included a week of silence, I felt tranquil, healthy and inspired.

All around me were these amazing textiles and I knew I wanted to evolve them into something beautiful and functional, to be treasured by a Western market. The idea evolved and over the next eight months I developed, prototyped and produced my first collection. I’ve always known I wanted to create something wearable and I’ve always loved sewing and designing, but I had found the fast fashion cycle quite scary. It was so gratifying to find a creative outlet which is both sustainable and beautiful.

What is it with the cycle of fashion that you want to avoid? And how do you do so?

The cycle of fashion and the constant craving for newness is something that’s unfortunately programmed into society. It has been around since after World War II, when the focus shifted from long-lasting quality towards planned obsolescence (or things designed to have a short life-span). Having said that, fashion trends have evolved since clothing was invented because people’s tastes changed and evolved naturally.

We are now realizing that we do not have infinite resources. From a design and manufacturing perspective, this means that we need to go back to a system of making and buying things that will last longer and also explore how to repurpose existing materials. I think that fast fashion brands will not disappear anytime soon, but if we, as consumers, choose beautifully designed things, that are better quality we won’t have to replace things as quickly and we will keep them for longer. If we buy fewer things that last longer, we can minimize how much ends up in landfill.

Athinaeum started as I saw people repurposing these beautiful Mayan handwoven textiles into things like handbags and other accessories. Unfortunately the products were poorly made and would fall apart after a couple of wears. I really spent a lot of time and effort to find great leather craftsmen and source quality zippers so that the handbag itself would last. I now have friends who have Athinaeum handbags from the first collection released in December 2011 and they rejoice at how many bottles of wine they have carried, how many countries they accompanied them to and how they still look great and they still love wearing their bags. I also tried to create a design that was very practical yet simple so that it could be versatile and beautiful silhouette to showcase the stunning handwoven textiles. Sometimes I say that I try to make things that people will want to pass on to their children—I really hope that I can make things that are both high quality and beautiful enough that they will want to.

When developing the handbags, how was your process in regards to the craftsmen?

I worked really closely with the leather craftsmen when creating my original collection. I knew the rough styles of the bags that I wanted to make, but sometimes working with leather is really different to sewing or patternmaking with cloth, which is what I’m familiar with. There are a lot of shortcuts you can make with leather, which is great.

I really worked closely with them to develop prototypes and from there we went on and I chose different leather colors to complement each textile. Because they are indigenous Mayans, it really helps because they know how the abstract motiffs should be positioned and what is the focal point of each cloth. This really helps because it can be hard to see what’s the best part of the fabric and I trust them to cut up and trim these beautiful fabrics and get the best out of each piece. It’s still a very collaborative process and I mark up each cloth ensuring they know which parts to use for what. It’s nice to trust them because essentially they are helping me to highlight and showcase the best of each textile, kind of like framing an artwork.

What sort of relationship do you have with the women creating the Mayan fabrics that you use?

From time to time, I have the honor of meeting the women who make each textile, but there are so many textiles and so many amazing women who have put hours into each piece. They are true artists—besides skilfully weaving each textile, they select the wild color palettes and the design and embellishments. The textiles are from many different regions which I try to include in the style names of each piece so that you can google and even look up the region.

I also work closely with a few women who trade and buy the textiles and then sell them for the ladies who live in small remote communities. The Mayan women I work with are strong, kind and humble. They have taught me a lot about family, culture and the secrets behind the symbology and techniques of the weavings and why they are significant to each region.

What sort of impact would you like your business to have on the local community?

After 36 years of civil war in Guatemala, which only ended in 1996, the country has been stuck in political, social and economic disarray for many years. In some ways, the poverty of some areas of regional Guatemala has served to preserve their ancient customs and traditions. However, there is much to be done to build the country and it’s really starting to progress in many ways.

I work closely with a family-owned workshop and I ensure that they all earn a wage that ensures a good standard of living for them and their families. Aside from that, I try and do as much possible with Athinaeum in Guatemala in order to feed the profits back into this country. For instance, all of my tags and labels are made there as well. Lastly, I also have the Athinaeum re-usable cloth carry bags (made in Guatemalan mills) made with a social enterprise called Mercado Global who work to empower women in Guatemala to create their own micro-businesses.

That sounds really interesting. When it comes to the micro-businesses, is there anyone in particular that has caught your attention?

The girl who made the cloth bags is called Isabel and she worked on them with her sister. Her story is pretty amazing. She started her micro-business a couple of years back and before that she used to work in Guatemala City and back to make tortillas to sell on the street for very measly wages. She has 12 siblings and didn’t go to school past the sixth grade. She’s now able to send six of her younger siblings to school and is the leader of a women’s cooperative that sews and works on an ongoing basis with Mercado Global. She’s a really warm and sweet girl who has the heart of a lion! Her story is not uncommon though and there are plenty of inspirational artisans living in rural Guatemala.

What’s next for you?

It’s a really exciting time for me because there are so many question marks. I’ve just had my first child who is an awesome little dude. I’m living in Copenhagen and Athinaeum is based in Sydney. My partner and I are heading back to Sydney to spend a couple of months there at the end of the year to check in on things and suss out opportunities there. Afterwards, we’re going to spend a month in the Philippines to see what kind of opportunities are there for both of us. I’ve always hoped that Athinaeum would be a global adventure so let’s see what 2015 brings!

We are looking forward to see where things are heading, and what you will present to us next. But before you head off on new adventures, can you give us some Do’s and Don’ts when it comes to working with design and production in countries that are not our own?

Ha! I could write a novel on this subject. I guess I’ll firstly say that it is important to spend as much time [at a production site] as possible to get to know the people. Understand the way that they do things and make sure everybody is aware of your expectations; you must be aware of their expectations too. People who are from a third-world country that has had a lot of instability or conflict can sometimes be distrustful and used to different levels of quality to what you are used to.

Be kind and understanding of one another, but be sure not to get swindled. It’s really useful to know the language and if you don’t, ensure you have a trustworthy translator so that everything is crystal clear and it helps if they have a good ‘production vocabulary.’ You can also be super sure that you’ve been understood by clearly drawing your ideas and instructions, make hand gestures and do anything else to make sure you’re understood.

The young Danish designer Mikkel Mikkelsen first caught my attention when I saw a series of experiments he had created with wood, aluminium and acrylic/plexi. A dining table with the same honesty as the original experiment captures the lessons learned.

Ever since I first saw the experiment, I’ve enjoyed following his progress as a designer, and a few months ago, one of his latest endeavors caught my attention once again. This time around, it was due to a duck. I know it sounds a bit odd, but this small little character with a metal beak is a remarkable duck, it’s a duck you fall in love in a heartbeat, and it’s a part of a grander book project created by Aviendo Fairytale. Seeing how far Mikkel has come since the first time i saw his design, how true he has been towards himself, his design and the people he come into contact with, I figured it was about time you all got a proper introduction to his work.

Core77: How did you get into the field of design?

Mikkel Mikkelsen: Before I started in the school of architecture, I was working in construction while I was doing business school. I was working in building high-end private homes in a company where my dad was a constructing architect. So the interest for architecture started there I guess—my dad also had his own studio before this, so drawing houses has always been in my life. It was like it was meant to be.

I think after architecture school, I was looking for a way to keep working on mikkelmikkel because I was, and am not very interested in a 9-to-5 job in one of the big companies. I tried this a couple of times but I always end up feeling stuck behind a computer and very detached from the projects. I think it has something to do with the scale of the projects in the big companies. I have always preferred the smaller scale that relates more directly to the basic needs of human beings.

To me, the interaction with clients are what drives the projects. A new project is always kind of a journey where you get up close and personal with the people you work for, which I find very interesting. Half of the journey is identifying and understanding the needs and challenges in a project before solving them.

When studying architecture, what was your main drive?

It is a bit hard to say—overall I think I have always had a desire to create things. When I think back I have been building things since I was little. But I see myself as kind of a hybrid. On one side I am the pragmatic builder who is very rational and functional, but on the other hand I have a strong sense of conceptual and artistic thinking. My architecture is often grounded in “softer” humanistic and cultural aspects.

It took some time when studying to find my place—I learned the hard way, that I belong in the smaller scale of architecture. I think it also has something to do with, that I can relate better to the scale and the functions around me. I use my own life as a laboratory for my work. If I have a problem or a desire, chances are that others are feeling the same way.

When you encounter and identify a problem in your own life, how do you go about solving them?

To me it is very important why you do what you do. If there is not a good reason to do something, I will not do it. I use this way of thinking all of the time when I am working. It is a way for me to make sure that everything is there for a reason and that I am aware and can communicate why this is. That is the pragmatic side talking—I am very aware that being a human being is not always something you can make sense of and I try to follow my gut feeling as well. Even though something is right in theory, it might not feel right.

Have you figured out an overall structure for your way of working?

When I get an idea, I will often run with it. My problem is that the speed of ideas and the time it takes to develop them is very different. To begin with, I write them down or make a quick sketch. Then I will leave it to see if it sticks or if it will just fade away. If it sticks, I will make out why this is a good idea and once this is clear—if it is clear—I will start experimenting in 2D and pretty quick small models. I do a lot of thinking before doing anything. I have to select which ideas I spend my time on. This is something that takes time. An idea needs time to sink in and see if it can stand up to the test of time.

You mentioned working with the humanistic aspects, how does your work reflect this?

To me it is about trying to understand things. I need to understand a problem or need in order to solve it in a better way. Of course, it is difficult to talk about projects in a general way especially because I work in such different scales. All projects have their own “life” and framing; this is why it is so important for me to understand the “core” of the project. Human needs and desires are very much the driving force in my projects. Designing houses for clients are a 1:1 translation of the client’s desires. You can say I translate the dream of a lifestyle into a physical frame.

My bigger architectural projects, which are more conceptual, often start with the people who are going to inhabit them—I would never design something just based on form.

How do you get your head around the “core” problems and needs of the client?

It depends on the project. For example I spetd a month in Rio working with a youth favela organization to try and understand the situation and the culture of these people. This allowed me to infiltrate and observe the situation without being “colored” with historical events. My job is to observe and listen and then figure out what it actually means. Often people can not tell you directly what they want because they do not know or they are not able to articulate things, so it is important that you ask the right questions. And once you find the problems, you can start to solve them in a efficient way. I strive to solve things in a “less is more” way. I say this because I like the Idea of giving the most for the least. Prestige architecture does not interest me; quality in life does!

What sort of problems did you encounter in the favela?

The favela in itself has of course problems like every other place. However I was more focused on the positive qualities of the favelas. There is a complex social system based on interaction and support. The sense of community in these places are incredible. However the real problem is the relationship between the established city and the favela. They simply do not know how to interact, which causes mutual hate. There are a long line of historical events which has made it very difficult for the parties to communicate. Because they do not understand each other they keep on clashing. It is a very complex situation, which could be the subject of an interview in itself

So you located a problem, how did you go about finding a solution to bring to the table?

The Rio favela situation is so complex that it is hard to sum up in a few lines.

What did you end up with after spending time in the favela?

I was working a lot with mapping qualities in both the favela and the city. My project was about implementing a new way of interacting. I proposed a way of building where cooperation and respect for differences were a key element. I designed a school that would act as a “stage” for favela culture and make this accessible for the public. But it was just as much a manual for a respectful collaboration. A new way for the city to make interventions instead of the rather brutal way it is done now, which creates more tension. This is a good example of my humanistic approach followed by a very concrete design. I am not afraid to give form to my empirical work.

Back to the present—what are you working on right now?

Right now I am actually working in both fields of my studio. I am designing a renovation of a house in the countryside and another project which is a garage/atelier addition to a house. Additionally, I am working on a lighting/lamp design for Frama in Copenhagen. And I am finishing up a series of tables that I developed myself. Furthermore, I have just been hired to do a workshop in Den Skandinaviske Design Hoejskole. So small scale architecture, design and teaching. Oh, and The Duckling (Aviendo)—we are starting another one soon.

It was the duckling that caught my eye a while back. What brought you to do that project?

I was exhibiting a chair while I was studying. The couple that has Aviendo stopped and we had a talk. They like my work and now two years later it is out. Although I must say I had never imagined how much effort that project took. It is one of the hardest projects I have done. However I have learned so much doing it in so many ways.

What would you say has been the most important learning experience that you take with you from this project?

Everything other than the design aspect. The designing was a challenge but something I have done a lot of times. Everything surrounding the design work was a great experience. All of the work you do not see in the finished product. We were a large design team that had to work together and coordinate. The strategic aspects in selling your ideas and how to present them. Also the business aspect for industrial products. I have learned a lot in this project.

Before finishing this interview, would you like to give a few guiding Do’s and Don’ts to designers and youngsters considering venturing into the field of design?

– Be true to yourself, there are many ways you can use a creative education.
– We do not all have to follow the same path.
– Be realistic about the markets you venture into and study them before doing so.
– Competition is hard and something you have to take seriously.
– Be very clear on what you do and why you do it.

For more information about Mikkelsen’s various projects, follow him on Instagram or go to his website mikkelmikkel.com

Cansu Akarsu is one of those people who you can’t help but notice when she enters a room: Her bubbly and positive energy more than makes up for her small stature. I met her during the INDEX: Design Awards a few years back, and have had the great pleasure of seeing her grow as a designer with her many socially conscious projects. Her résumé includes projects such as Happy Baby Carrier, Pad Back andSoap Shish. She moved from Copenhagen to Stavanger, Norway, this year and is now working at Laerdal Global Health.

Tell us a bit about your background?

Cansu Akarsu: I was born and raised in Istanbul, Turkey. I studied at an American high school called Robert College in Turkey, followed by studies at Istanbul Technical University (ITU),
which lead to an exchange semester at TUDelft, Netherlands, and a year as an exchange student at Korea Advanced Institute of Science & Tech.

What led you to study design?

At the international school, I had a chance to chose courses more focused on my various interests, which gave me a chance to study and experiment with web design and graphic design. I was very lucky, my school was very good in this way. They also conduct various personality test as to help you understand where you fit on the job market, and how you can direct your studies in that direction.

If you think about your closest family and friends, have they influenced you in any way?

If you ask my mom, my ‘design genes’ came from my father’s side :). They fell in love at the university as my dad helped my mom with her technical drawing courses. So far, I am the only industrial designer in my family of engineers. What fascinates me most about design is the human aspect—that we focus more on the everyday behaviors of people than technical solutions to products.

For the last few years, you have been working with socially conscious design. How did you get started with that?

There were many small events to lead to this decision. One of them being a trip to the eastern part of Turkey that I took with my class at ITU. I had traveled a lot to different countries, but i had never visited cities outside of Istanbul, and I thought that they were going to be more or less on the same level when it came to the standards that I knew growing up. I was surprised and shocked to see the lack of resources that existed in my own country. This inspired me to see what sort of impact that I, as designer, could have on peoples’ everyday lives. I understood that I could do something to help the development of my country and the world as a whole and that was really exciting for me. This is one of the reasons why I decided to participate in OpenIDEO. Here I attended the design challenges, and it was one of the places where I found that design skills could be used to address worlds’ biggest problems.

You have been living, studying and working in many different countries so far, what have lead you to do this?

It was always a part of the plan. Travel, travel, travel!

After studying in Delft, I went to Korea for what was supposed to be one semester, but i ended up staying for two. During my time there i got in contact with INDEX, who were arranging a summer camp called YONSEI-INDEX Design To Improve Life at Yonsei University. So instead of going back to Istanbul, I entered two of my projects in their competition for the INDEX: Design Award and got on a flight to Copenhagen. I brought my portfolio and networked like crazy at the various gatherings and events arranged by INDEX during the award week. Looking back, it’s hard for me to understand how I had the courage to do it. Kigge [Hvid, CEO at INDEX] encouraged and helped me a lot. I ended up getting an internship at DesignIt that started more or less immediately, so I never left Copenhagen.

One day, in the beginning of the internship, I received an e-mail from Kigge where she introduced me to the people who later were to fund the Happy Baby Carrier project in Uganda.

Tell us a bit about your role in Happy Baby Carrier, and how it all started.

As I said, Kigge introduced me via e-mail to the people who started Happy Baby. I got the mail the day before they had to leave, so we had to meet the same day. I was about to leave the country as well and had made plans for the evening, and even though Kigge had told me absolutely nothing about what they were all about in the mail, I just knew I had to meet them. So I canceled everything and arranged for a small dinner meeting with them. It ended up going later than expected—we were sitting talking about projects, possibilities and laughing through the entire evening. By the end of the meeting, I was asked to design a brief for the project, which I presented when they came back to Copenhagen a few months later.

I didn’t really know what i was doing, but I showed them the brief, the timeline and told them about the team that I needed for the project—a researcher, a product designer, a photographer and me as project manager—and to my surprise they said Yes.

For more info about the project, check the website happybabycarrier.org

Were you done with your studies by the time you started working on the Happy Baby project?

Well, no! Originally, the idea was that I was going to do it as a graduation project, but my university back in Istanbul didn’t agree with that. That was bad for them, but really good for me, seeing as I now got to do it as a full-time job, to build a great team and to work in the field in Uganda. I believe this arrangement led to a much better process as well as a better result.

Other than the finished product and fond memories, what did you take with you from this project?

So many things were going on at the same time and seeing that the process was so intense. One of my colleagues was an anthropologist, so I learned a lot about research. I had already prepared an interview guide for the workshop and we refined it together. During the process, we had to change some questions in order to get the answers we were looking for, as well as adding a some new ones and omitting others that weren’t relevant.

We asked them to describe how they carried the baby depending on age and size, and when they answered, I would start sketching it on the board and everyone loved that, so that became a reoccurring part of the workshop. Someone drawing was a fun point that we added on during the process.

For me personally, everything was so new, living in Uganda and being a project manager, but at the same time a tried to not be Cansu anymore and just be as objective as possible. I didn’t have a lot of free time to get into the culture the first time around, but the second time we stayed for four months, which was a lot of fun!

Was there anything that surprised you with the process or the project?

Oh, this is really hard to answer… at one point in the Design To Improve Life process, there is this part called “Kill your darling,” we had to use it. We had a prototype that worked perfectly, but it was hard to produce, and since one of our criteria was that it had to be easy to replicate, it was out of the question to continue with that model. It was necessary to ditch it, but it still hurt.

Many of the things that surprised me came after the process was done and we were visiting families that were using the carrier. Seeing that they had started to use it in a way which we hadn’t intended for a problem that we hadn’t considered in the process. If we would have known, we might have designed it differently. But it works, which is the main thing.

One of the other interesting things that comes with creating a successful product is all the things that you can’t predict when you first start, such as the new patterns created within a family structure. For example, when the father uses the baby carrier, the love and attachment to their children grows, the gap between the genders get smaller, and decreases domestic abuse.

What is your next step?

I want to move on to more challenging tasks. I love the field, so i’m continuing my path within this area. I just started working at Laerdal Global Health, where my focus will be to help save the lives of both mothers and children in the days after the birth. We are going to design products and programs to train midwives to do their job in a better job, and we are focused on a low-income setting.

I learned a lot in my old job, but here I have a bigger platform, I have a greater possibility to grow and to learn more within an organization that is as big as this one.

Lastly, do you have any ‘Dos’ and ‘Don’ts’ for people who are, or who want to work in the field of socially conscious design?

They are not specific to social innovation—they are valid for every field:

Do
– Socialize with the culture you are designing for
– Get your hands dirty; prototype
– Document each step of the design process
– Bring in multiple prototypes to get comparative feedback

Don’t
– Get defensive about your idea. When asking for feedback from users, designers should not defend the idea they have presented, but be open to as much critical feedback as possible.

You meet many people when you are out and about in the world. During one of my trips to Paris I ran into Kenza. She’s young, she’s energetic and her smile is infectious. We started talking in a bar a about fashion and life and passion for our respective trades. She told me she was a photographer living in Bali. I looked at her and thought to myself: “Yeah, yeah, she’s just another person with a camera who calls herself a photographer because it sounds good…!”
But how wrong I was. And I’m more then happy to admit it. This girl is good, as in GOOD…!

Moa: Tell us a bit about your background

Kenza:My parents are french (Avignon and Normandie ) but I have mexican and Moroccan blood from my biological father. I grew up in Bali and left the south of france ‘Avignon’ when I was 7years old. It was because of my parents business we decided to move to Bali.

You started taking pictures at a very young age, where did this interest arrive from?

At the age of 14 i saved up money to buy a reflex camera to be able to capture moments of my lifestyle. I’ve always been interested in everything related to art since I was a kid but when i started to understand the freedom of having a camera in the hand and creating scenarios, photography was it

How would you say that your love to photography has developed since then?

By working with other artist, capturing any beauty, getting inspired by places I’ve been or moments in my life Ive been trough … Imagination never stops but keep growing the more I shoot the more I learn new little things

How is it to be a young female photographer in the fashion industry?

Well, at the beginning it wasn’t to easy. I must say the agency wouldn’t let me test their models to experiment or make up artists for that mater, and stylist didn’t trust me. So I had to fight to work with them, then slowly they started recognize my work and to agree on doing projects together. Now I don’t see any difference between me and the ones who’s been in the business longer.

How have you learned the tricks of the trade? Have you had any support from an older and more experienced photographer?

Well I am very far from knowing all the tricks to be honest. I’ve been learning by reading books and online tutorials and experimenting by my own. I did an internship with a photographer, but that was a long time ago. At the moment I have lots of support from this photographer that teach me heaps of stuff, I would actually call him my ”professor”, and I’m his muse. We both are really passionate about what we do. We have very different eyes and styles, but we get really inspired by each other. He have all the technical knowledge and I bring the art touch. That’s why we learn from one another.

When working, what inspires you the most?

It really depends… Everything can inspires me. For example when I work with a wonderful team that gives good vibes to the shoot, but even a negative vibe with a energy can inspire me. But also how people act or react to something, the light, the location I’m working, the mood I am in and the connection I have with the model is also very important… I always try to be very close to her rather then using her like an object. That way I get the most of her and can capture something more deep and powerful.
I’m usually inspired before I’m on set. Thats an everyday inspiration from movies or situation I put my self in, relationships I have with people by partying. Dreams is also one of my biggest inspiration.I write everything down and think of how I could make all this emotions into an concept, a photo shoot.

What would you say is the hardest part of being a freelance photographer?

You have to be organised when it comes to everything. Depending on the low and high season I have to be aware my money situation, because I don’t get an every month fix salary… There is no company or agencies that represent me so I have to promote my self constantly not to be forgotten by shooting and make people talk about me as much as possible. You to be active and never stop creating & building artistic projects etc.. I am completely independent so there’s good and negative sides of it.

Where would you say you get most of your costumers from? And is there a difference when it comes to where you get most projects and where you get most money?

Mainly from word of mouth. There’s also the publications in Magazines (editorial) that helps, of course interviews, but also Instagram and Facebook. Usually its brands that get in contacts with me to photograph their new campaign/lookbook. It doesn’t make a difference where they hear about me when it comes to who pays the most. There’s really big companys who have found me via Instagram and low budget companies that might have seen my work in a magazine. It doesn’t really make a big difference.

Do you do other photo shoots other of fashion?

Well I am still in this ”experimenting” phase of my life where I’m trying to find myself and my style… I also do landscape and lifestyle. I recently met a war photographer, and I would love to experiment with this as well, but what I mainly love is fashion and beauty. Thats what I love the most because its like having a white piece of paper and a pen and draw what you have in mind. Choosing a girl that is right for the concept, creating an ambiance and an attitude. I went with my ”professor” on an excursion a week ago to climb a sulfur volcano at 2 in the morning in Jawa to take images and do an exhibition, capturing shooting stars, workers, and lava fields. It was quiet magical and we are very satisfied with the result of the images.

When and where are you expecting to be having this exhibition?

In Hong Kong hopefully before july but i can’t say more on the subject before its 100% ready.

Before ending this interview, could you tell us about one of your favourite shoots and why it left such an imprint on you?

I could seriously give you 100 of examples…Haha…
This is a hard one because I am very emotionally attached to almost every single of my shoots. But I could give you few example of ones that has touch me the most. I’ve loved Frida Kahlo since I studied her when I was in school. So I decided to make a shoot with her as the main inspiration. It wasn’t easy, the stylist and make up artist is a very difficult woman hard to work with that doesn’t go along with anyone, and the model had the put herself in Frida’s skin. The pictures turned out very good and really created the emotion I had in mind. Its probabably one of my favourite shoots.
There’s also another one that I really love. It was in studio and I did it with my ex boyfriend who’s an hairdresser. The concept was very dark, we had to drop candle wax on a female model, it was late at night and very hard to get the light right, but the entire the team was working hard and the images turned out insane! Every time I look at those photos it bring me back to that beautiful obscure night we all had.
I also really like this other shoot I did with a russian model. It was only her and I, and we did everything together in terms of make up and wardrobe. We were alone in this villa and we just hanged out and took photos. I really got to know her in a short time and that is what made the pictures look so good and you can see that there’s true emotion behind it.

Location: Copenhagen, Denmark

About one year ago, I was giving a talk to students who were about to graduate from the various design schools in Copenhagen. After I finished, I leaned back in a chair located rather close to the door (and close to the drinks and snack section…) when I caught myself staring at a bag. It captivated me to the extent that everything around me disappeared, and the only thing left was the bag and me. Once I snapped out of it, I went up to the person holding the bag as to ask him where he had bought it. To my great despair, it turned out he had made it himself, and he was holding the only sample. The Man with The Bag turned out not just to have a great eye for design, but to also have a great and intricate mind, and his name is Brian Frandsen

Core77: Tell us a bit about your background. How did you end up in the field of design?

Brian Frandsen: I was not supposed to study design to begin with, I never thought I would do anything like this. It sort of just happened. I’ve always been a bit of a book nerd— I live very much in my head. I’ve always loved school, mathematics and humanistic studies, so I thought I was going to study Danish, rhetoric, philosophy, political science or something along that line.

After high school, I was lucky enough to get a job in quality control for a Danish mainstream clothing brand at their office in Hong Kong. I spent half a year there, with my partner at that time, and while I was there it hit me how disgusting the fashion industry really was.

My boss would find something she liked, draw it in Illustrator and send it off to the factory in China. After we got the sample and established the price of the product, they took away a few details to make it cheaper to produce and sent it back to the factory. The entire fashion and design mechanism was without feeling, without heart. I felt offended by the way it worked, yet at the same time it fascinated me.

I lived in Hong Kong for a while—just as with the fashion industry, I had contradicting feelings for the city itself. I loved it and hated it at the very same time. It’s the most constructed place I have ever been. It feels like nothing in Hong Kong is natural, everything is man-made, everything has its place, and all of the buildings are built in a specific way. But at the same time, when you walk around and truly look you can see how the traditional Chinese culture is creating its own space in the cracks of the perfect façade. It grows like weed out of the asphalt. These perfect glass buildings and the uncontrollable growth that is happening in between theses buildings ignited something within me that changed me on a fundamental level.

After I got back, I still thought I was going to go to Copenhagen to study and get a serious degree in one of the rather academic fields. I don’t know if they have it in other countries as well but in Denmark, universities have something they called Open House where you can visit the uni’s and check out all of the courses available. I visited all of the ones I could think of, but in the evening, only Copenhagen design school was open so I went there just to see what they had to offer, and I was hooked. There was something about it, the same thing that had fascinated me with China, that was man-made and then the other side, the one that you could not control. That you should put yourself in the space between what the logic tells you and what your intuition tells you. That’s where I wanted to be.

Another important factor in my decision to go to design school was a reform that resulted in a more theory-driven education. After that I went home, did some research and found out that there is only two design schools in Denmark: The Design School of Copenhagen and Design School Kolding. I visited Kolding and realized it was time for me to choose between a life (in Copenhagen) or a superior (to me, at least) education (in Kolding). I went for the latter. I applied the same year, and I actually didn’t expect to get in that same year, but to my great surprise I did. So that was how I got into design.

What got you through these five years at Design School Kolding?

[Laughing] It’s been six or seven years now, as I’ve been working there as well… Not one single month have passed since I started that I haven’t thought “What am I doing here? I’m not a designer. I should stop this and start studying at the university!”

I’ve had a really hard time fitting into the idea of what it is to be a designer. I started with industrial design and it is a rather square way of thinking. You are supposed to design this-or-that sort of product, and to do it in this-or-that sort of way. I have a tendency to think on a more abstract level. As I said, I live very much in my head. This has been a hard thing to handle and has created a rather difficult relationship between some of my teachers and myself. I’ve tried to explain my way of thinking, the philosophy behind my projects and they have wanted to See something. There’s this constant struggle going on within me on so many levels. Just to get out of my own head and start making things with my hands is a long process, but when I finally get to the stage when I start creating, then the ideas just come flooding out, and it’s hard to stop creating.

After you finished your studies, you have been working in various areas of the design industry, how do you feel about it today?

I’m really trying to love it, and I’m trying to do so in the same way as you love a child who doesn’t know any better. I’ve worked on a development project at Design School Kolding where we were trying to implement sustainable processes and thinking in small- and medium-sized businesses. One of the reasons why they are not using the solutions available for a more sustainable production is because they can’t wrap their mind around the consequences. It’s such a big and abstract phenomenon—questions such as “What is responsible?”, “What is sustainable?” and ” What can we allow ourselves as a product producing industry?” can be truly hard to answer if you don’t have the right tools to do so.

One of my current preoccupations is how we can use design and design thinking to strike a balance between the analytical and intuitive processes to become a new and creative language and a new way of working when creating products. The big discussion going on right now focuses on whether people have a tendency to either blame the industry or blame the humans for everything that is going wrong with the world. Some of us seem to put ourselves on a pedestal and think of ourselves as if we are above nature, others seem to want us to stop existing since we are of greater danger then benefit to the environment. I don’t believe that either is the case.

The idea that we should stop producing things and stop buying things—in order to more or less stop existing in the physical realm and just become brains—is alien to me. It doesn’t get us anywhere. One of the solutions to the problem is to find a balance between being a rational being and a sensing being that exists in this world, who creates things that improve this world. Our ability to reason and imagine a future helps us develop, but we live here and now through our senses and our bodies.

To reach this mindset, we need to change our way of thinking of ourselves on a fundamental and human level. Thinking about how this is going to happen truly occupies me.

Right now you are working on a new handbag collection, how does this align with your line of thinking?

To be completely honest, I’m struggling with it. But at the same time, I do have this need to create, create handbags, art and products. I don’t want to create “just another thing,” I want to create something that fulfills a need, both in a functional and emotional ways. You can say that it’s my way of giving back.

I create bags that I believe people are going to buy because they know they are going to love it and keep it for many, many years, and they know they are going to have a relation to this bag. I don’t want to create something people by because of trends. If you as a designer go for creating the best and the most environmentally conscious product that also is the most beautiful and has the biggest liveability factor on the market, then you have the right to be here. If your only concern, when designing, is to sell as many things as possible without taking into consideration how this impacts people and the world, then I don’t think you have any right to be putting things out there.

Can you give us examples of designers who you think definitely have the right to be here?

It’s hard to truly see a business or a designer’s way of working and designing unless they are completely transparent, and there are very few who have reached that level. But on a personal level you can, to some extent, go after your gut feeling by asking yourself if it is a product you believe you are going to love and use for a really long time. If you truly believe that this is the case, then that is a step in the right direction. By choosing your purchases this way, you forces the makers and companies to emphasize their focus on quality and durability.

There is one fashion designer whom I have a great deal of respect for, and although I don’t know him personally, he is the only one who I trust 100%: Bruno Pieters, the man behind Honest By. He used to be the Creative Director for one of the high-end brands, and got the same sort of feeling for the industry as myself. He quit and spent a year traveling around visiting various producers as to see which one of them “had clean flour in their bag” [a Danish expression for honesty], which ones who were willing to open up their books and their manufacturing procedures and tell about the origin of their raw materials. After this, he designed a collection, which is sold such that a customer can find out absolutely everything about the various garments—from how much the seamstresses are paid to how much the safety pin holding of the tag costs—on the website where it is sold. Not that anyone reads everything, but the knowledge that it is there gives you a sensation of trust and understudying of the philosophy that drives him. This sort of absolute transparency is beautiful.

I believe that this is something we will see more of in the future. And I believe that this way of thinking is one of the things that is going to be a part of creating this change in mindset that I spoke about earlier.

In a world where it’s hard to have faith in anyone as long as there is money involved, I believe that one of the ways to create a bigger trust is to open up completely. And as far as I know, Bruno Pieters is one of the only designers to have done so to such an extent.

Is this way of being completely transparent something that you are aiming for when designing?

Absolutely, and it’s rather easy for me, seeing that my production flow is very small compared to other businesses. There are some parts that are rather hard for me to get all of the information about, but I try to gather as much information about the various parts of the objects as I possibly can. It is my goal to have a product and production flow that is 100% transparent. Every time I buy a material, I try to take it one step further and get as much information about it as possible. You can say that I’m building my own little transparency library.

You work a lot with leather, how do you feel about this?

It’s difficult, since there isn’t really any responsible production of leather that produces leather of high enough standard. I only use naturally tanned leather, which means that there’s no use of chrome or other chemicals in the tanning process. This is more healthy for the workers, as well as for the users in the long run.

Where do you find this sort of leather?

I believe it’s called full-grain leather in English, but I’m not quite sure. You can find it in more or less any store that sells leather. It’s normally the thicker and harder version, seeing that the soft and very flexible ones are the ones that have been treated with chrome and other chemicals as to make it softer and create a specific surface. I really like working with the naturally tanned leather, which just becomes better and more beautiful with age. One of the problems with working with leather from animals that have lived a good life in the outdoors is that their skin has been damaged by insect bites and scars from fence cuts. It makes it a bit less attractive to the costumers, but I try to design my products such that the flaws become a part of the appeal.

I also try to dissect the design so that the various parts can be easily separated for easy recycling—trimmings, metal parts and main structure all by themselves. Right now I’m designing a bag where the main bag, made of leather, is rather neutral and simple in its expression, while the inner bag is made from textile and is the part that you change with time. This way you can make it more personal and keep it for longer, since the design takes the seasonal change of fashion and the longevity and properties of the leather is into account in its construction.

Based on your products, it’s easy to see how your philosophies guide you when you design. What sort of reactions do you normally get when it comes to your products?

I am happy that you can see the influence of my philosophy in my designs. To be honest, I don’t think that much about it when I design. The philosophy is created in a dialectic relationship between what I do, and I believe this to be the way we in reality experience our life and the world around us. Never stop creating and never stop reflecting on your creations.

Usually people are fascinated by my products, which go to the edge of the expected without becoming statements—they always have a twist or a hidden story. People find both comfort in the classical foundation I build my designs upon and excitement in the unexpected twists and details.

You also explore other sides of design beyond bags. Tell us a bit about that.

Other then the basic design projects, I work as an innovation consultant where I primarily work with organization development, and secondly with product development. It refers to the idea of the new way of existing in this society and how to create relations and business in a more conscious way. It builds on some design principles of balancing an intuitive and an analytic way of thinking when creating. Design encompasses grand spectrum of methods on how to incorporate this in processes, and these processes can be used in more or less any field, whether it is strategies, lean product development or human resources.

Now I’m consulting various schools and NGO’s on how they can incorporate design thinking in their way of working, on a process and strategic level and in product development.

When working as a consultant, do you have a specific way of working, or does it depend on the organization?

Hmm… That’s a hard one. The strategy that I use as a base is the “design stairs” (developed by Danish Design Center). It’s easy to use in the way that you start up by asking: Do you need help developing a product, a process, a strategy or development of the organization? And I use a lot of time asking “Wh-” questions—What, Why, Where, and in the end How…

I’ve been reading a lot of Roger Martin‘s articles and books; you can say he’s my hero. He used to be the principal of the Rotman School of Business in Toronto, which is one of the most prestigious business schools fo North America. He says something along the lines with “Future business leaders should not understand designer, they should become designers.” He defines the leader as the one who balances the analytical processes and the intuitive processes in a business. His theoretical basis is something that I use when talking to the analytical thinkers, who are the majority of the people you encounter in the businesses of today. I try to convince them to start working more with their human side, their intuition and start understanding that their feelings also give something important to their work. Also, that they can trust these human sides as to make decisions on previous experiences, not just data.

I also make an effort to get clients to understand that if they want to develop anything in their business, they have to have the courage to be interrupted and let the unexpected enter. Normally this is really hard for people, since they want to have total control over everything they do, every minute of the day, so asking them to listen to their intuition is an interruption in itself. To listen to your gut feeling takes a lot of courage for people who have ignored it for such a long time.

So what is the third thing you do?

It’s art, and in reality this is my biggest creative outlet, where I can work more closely with my own essence, aesthetics, materials and storytelling. It feels fantastic.

How do you bring in your thoughts and theories into your art?

Everything is connected. In order to become more sustainable as individuals, I believe that we have to not only be human, and use our humanity when we are at home with friends and family, but that we are first and foremost humans and we have the possibility and responsibility to take this into consideration in our day-to-day life. We are a part of everything, we are connected to everything. We can never put ourselves above this, the only thing we can do is to take part of it and be a part of it in such a way that the footprints we inevitable leave behind is as positive a mark as possible.

The key to act in the transition between the social paradigm we are living in now, and a more flourishing future, is not to tear everything down and start from scratch but to continue building on the sections that actually work. I believe that the thinking and acting within design will have a major influence on our ability to do so.

Although my art is very personal, its also a study in how you act as a human being, how we interpret the world and how we connect to and interact with people around us.

We walk around in this world without really seeing it. We are so used to our brain picking up images and processing these images that we take them for granted. Since we are so used to this, since we take it for granted, many people walk around as zombies, without ever questioning or contemplating over what is going on around us. We are rarely aware of all the impressions we get, and why we understand them as we do. You can say that my art is creating deception. I like creating pieces that make you believe you see one thing, but in reality it might be something completely different. I create art that deceives the brain in such a way that it makes it hard for the brain to connect what it is seeing into something that makes sense to it creating a sort of flickering reaction. We can see it, we can’t see it…..

I want to create art that makes the brain question what our minds perceive as reality and what really is reality, and also makes us question everything we see around is in our day to day life. Nothing is what it seems, and many have to be reminded of just that as well when it comes to our day-to-day life. This is something that has been a part of the art world for as long as there has been art, I just try to make it in a more obvious manner.

The biggest piece I’ve made so far was for the Milan Fair in 2012 in collaboration with Ege-Carpets. It was a self-portrait created by 125 carpets stacked on top of one another in a standing position. For this project I’ve made a 3D scan of my own face, and cut it out in such a way that you could “walk inside my face.” And on top of these rugs there was a 2D print of my face, so when you glanced at it your brain would perceive it as a 2D picture of me, but then while moving around it your brain would start reacting to the fact that something wasn’t the way it first thought it was. Your brain will flicker between the perceived reality and the real reality, and your mind will find it hard to connect the two perceptions into one. The brain wants the sculpture to go outwards like the 2D picture, while the negative form of my face was showing in the 3D cutouts.

I loved this project, specially watching people react to the piece, to see how they first just walked passed it and then come back to look at it more closely seeing that they couldn’t make sense of what they saw at first glance. It was like giving the viewer a sort of break from only relying on their perception. It was a mental interruption.

For a long time, we have talked about making everything around us as smooth and effective as possible, but this isn’t what we need as people. We need some sort of resistance as to not lean back and only rely on our perception and start seeing the world for what it really is.

We have been talking a lot about designers, how would you describe what it is to be a designer?

I have a tendency to make the designer sound like some sort of God, and that is not my intention, far from it. But I do believe that a designer has a sort of courage when heading into a new challenge. A good designer knows how to balance divergent and convergent processes. Non-designers have this ability too, but they’ve been taught not to look at the world this way. I believe the approach of the designers, the methods and way of approaching challenges, is more accurate to how the human being is designed by nature to solve the puzzles of life.

There are two steps of courage that characterize a good designer:
1.) The courage to take two steps back and observe the world as if she isn’t a part of it, open up and reflect on what she perceives as an empty room that she then fills to the brim with information.
2.) The courage to make the hard choices, and use an analytical approach as to decided what to keep in the room and what to get rid of. Most people don’t like taking these sort of decisions, they prefer to lean back, let go of their responsibility and let someone else take their decisions for them.

So the designer asks questions for a long period of time, and just continues asking questions when others would stop asking too quickly and instead start coming up with solutions. We dare to continue asking and when we feel like we have enough information, only then do we start looking through the answers in order to construct an answer that solves the task at hand. We connect dots in such a way that they create the answer.

As those of you who have read my previous posts may know, I’m an architect. Well, according to my degree I’m an architect… but if you ask my architect friends what I am, they have a hard time explaining what it is that I do. This might sound a bit odd, seeing that I’ve met many of them during my time at uni, but I do understand their trouble of defining what I do—I can hardly explain what I do, so how could they possibly do so?

Being an undefinable creative individual myself, I end up talking with a lot of kindred spirits, young and old, who are finding it hard to find/make a space for themselves in the field for which they have studied. Fashion designers exploring art, architects tackling social problems, graphic designers working in music, lawyers developing furniture, and the list goes on and on and on.

One of the things that defines us all is that we are creative, no matter what field we were or are in, our mind always find new ways of solving problems, develop new visions and handling tasks. Some of these talents are more tactile: a musician makes a new melody, an architect designs the scenography for a theatre piece, a fashion designer designs jewelry, and so on and so forth. Those are easy to understand, easy to write down and showcase in a portfolio.

Then we come to the tricky part, how do you showcase your creative side when it comes to problem-solving, people skills, your way of bringing positive energy to a business, your way of making teams work more fluidly, helping people find and nourish their passion in everything they do, how you make people feel comfortable when you are around, create an atmosphere that drives creativity to a higher level, how you make people trust you and truly talk to you, your burning curiosity that makes (almost) every subject interesting, or your way of twisting a situation into something positive or at least into something you can learn from?

These are a few things that are really hard to write down on a CV or application when looking for a job. These are the things that you do not learn when studying at a design school. These are the things that every workplace needs, but hardly any workplace asks for when posting a job opening.

You can be the best young architect in the world, but if you are horrible at working with others, you can’t communicate with you client or the engineers, you make people uncomfortable around you, and you make people feel like you are draining their energy rather then giving it to them, you will not last very long at any studio.

I’ve met many talented designers with various combinations of the soft skills mentioned above, who feel like they are falling in between the cracks since they don’t know how to define the soft skills in a way that they connect with the person reading their resumé. Many people in creative vocations have studied and graduated from university, but feel like their true skillset is a mixture between the hard skills, their soft skills and their passion for something completely different.

I see so much passion fade away within this mish-mash field of talent that it scares me. All of this positive energy going to waste. They don’t fit into a regular box of what they should do according to their degree; instead, they remain far outside of it. Sometimes they wish they fit the box, but they know that trying to fit into the box, to change themselves, to cut themselves into pieces would kill them.

So now my question to you is; How can we use this energy for good rather then to let it fade away? And do you have any suggestions on how these sort of people get these soft skills come across on their resumé/CV?

Rakel is yet again one of the creative minds whose development I’ve been following for a while now. What is it with people coming from Iceland? It seems like they all have been sprinkled with fairy-dust, and Rakel is no exception. She’s a wonderful combination of timid and radiant which transfers into her subtle and yet eye-catching design. This interview is a bit different compared with the previous ones in that I had the pleasure of interviewing her in person.

Core77: Tell us a bit about your background

Rakel Solvadottir: I grew up in Akureyri, a town in the north of Iceland. When I finished gymnasium [secondary school], I moved to Denmark to study fashion and textiles, but after the crisis hit Iceland, I moved back home and started my BA study at the fashion department at the Iceland Art Academy

You left Denmark as to study at Iceland Art Academy, how do you feel about your time there?

It’s such a young school in comparison to many other design and art schools in Europe, so of course there are some things that could be improved, but it is constantly evolving. You also have to be aware that you can’t learn everything in just three years of studies, and it’s up to you to take advantage of this time you have and get as much out of it as you can. I’m very satisfied with my time there. The fashion department has been growing rapidly for the last years and you see more and more graduates making a successful carrier within the field.

You can say that you bachelor project was a success, seeing as one of your pieces was worn by no other then the wonderful artist and fashionista Lady Gaga. Has that influenced your life as a designer in any way?

Of course it has. It was a big deal, a great honor and a wonderful exposure for me as a new young designer. But to be honest, I wasn’t prepared for it: The dress was not in production and I didn’t have a website, so it was hard to truly use this opportunity to the fullest. But all in all, I’m happy that she liked the dress, that she chose to wear it, and that others got to see my work.

Looking at the pieces from your master project, they are very architectural. What made you go in this direction?

I wanted to depict the female form not as curvy and soft, but in a more angular and graphical way. I wanted to show a woman that was strong and edgy….

After you finished your bachelor, you moved back to Denmark—how come?

I believe there are many possibilities in Iceland for being as small as it is, but I felt like I wanted to move back to Copenhagen and create my own thing over here. I miss the nature, and that people have a tendency to not only accept but celebrate others’ individuality and quirkiness.

What do you mean by that?

Since we don’t have a lot of the bigger brands, such as H&M, people in Iceland are not as mainstream as many of the people you see here in Copenhagen. We have to figure out our own style and not just go into one store that dictates “This is what you are supposed to wear, this is the trend we have decided on focusing on right now!”

How do you feel about the big brands and the influence they have on your field?

I’m having a lot of problems with it. It scares me is that the fashion industry is creating so much waste. It seems like there has been a constant SALE going on ever since I got here. First you have the regular SALES, then you have MIDTERM SALES and then the regular SALES again. It’s almost like a product ends up on the SALES rack in the blink of an eye. I don’t see how this can continue.

What would be the alternative?

By focusing on more sustainable solutions. Now when I’m a not a student anymore, reality strikes and makes it harder to stay true to yourself and stick to your own beliefs. I love fashion, I love design, but the designers and consumers have to gain more awareness off the harm that this industry is causing. I care about quality both when it comes to materials and design, rather than quantity. When working on pieces that are to be produced I want to create modern classics. Pieces that are up to date at the same time as they are timeless, and can therefor be a part of one’s wardrobe for long period of time. Hopefully I can make that work…

Your interest in fashion and form, where does derive from? Was there anyone who inspired you?

Well, I guess I’ve always had an interest in clothing and this way of expressing yourself through what you wear. I come from a family of flea market maniacs, which gave me the privilege of playing with clothes and the fantasy world around them as a kid. Old clothes, weird clothes, colorful clothes, hats, bags, shoes and bling! When I was a teenager, my stepmother opened an antique and secondhand boutique, where I first became fully aware of my interest in fashion. I worked in her boutique through my highschool (gymnasium) years where I learned alot about clothing and fashion, studying fashion eras and so on. I also became aware of how clothes can be used as a form of expression and that awoke an interest within me.

It was then that I first realized it was more than a hobby and something I wanted to pursue. I moved to Denmark to study fashion and I haven’t looked back since. One thing that surprised me in a positive way (and continues to inspire me) is that, of all the people I see and meet here in Denmark, the ones I find to be the most interesting one in terms of fashion are the older generations. I encounter old ladies who look amazing each time I leave my apartment.

Why do you believe that this is the case?

Maybe they are to old to give a damn about what others think about them. Maybe they have been able to nurture their individuality for such a long amount of time that their style has gone from being inspired by temporary trends to just keeping their personal favorites from each era. Every time i see them, I just want to take out my camera and take a picture of them, but for now I just settle on telling them that I like their style.

When working with designing pieces now, where do you find your inspiration?

At times i look back on my heritage, other times I find the concept in an idea, a person, an era, or in one of the other design fields such as architecture. In the process of designing and seeking inspiration, I find it important to let loose and go back to the childhood state of freedom and playfulness. To allow yourself to make mistakes, to make something ugly, until you hit the right thing in a way. It can be hard to let go of these barriers you get when you become an adult.

When working on a project, what is most important to you?

I think the most important thing to me is to stay open-minded through the whole process. To always stay open to new ideas and not make any final decisions until I absolutely need to. To reach this level of flow in your mind where you form a bond with your work. The research process is very important and I spend a lot of time on that. Then you get to this point where all you can think of is your work.

You might be discussing the weather with your sister but in your mind you’re thinking, ‘Hmmm could I use piping for those trousers… would it work to do an opening in the back…’ You become obsessed with our work—it’s all you think about at all times! I think that’s when the good things happen, which is what I love about designing or creative work for that matter.

When you are in ‘flow’ mode, how do you stay there?, and if something/someone stops it, how do you get back to it?

To stay in that mode is all about enjoying the process, letting it lead the way. It’s always interesting to look at one’s process from starting point to end result. It might be a long and crooked road but it’s extremely important to take that road. The process is the key to a satisfying end result. Of course it’s also important not to get lost in the process. You can continue developing your ideas endlessly, and especially when you’re not working on a deadline, it can be hard to make decisions and move on. I’m a bit of a daydreamer myself so setting up my own deadlines helps me stay focused.

When it comes to the greater perspective, what is your vision for yourself and for your work?

Creative freedom is important to me. I want to enjoy my work so I can keep growing, both as a designer and as a person. My goal has never been to become a big famous designer showing at the big catwalks. I want to be able to live doing what I love, create things that I believe in and be true to myself both as a designer and as a human being.

Have you ever thought about working with any other field of design?

Absolutely! I’ve been doing a few installation pieces, and I’m going to continue doing that. I’ve also designed the catwalk for another fashion designer during Iceland’s fashion week a few years ago, which was very interesting, and seeing that i have been studying different time periods in fashion, I would also like to do clothes for movies.

For the third interview of Creative Minds for Core77, I would like to introduce Giorgio Giussani. I’ve been following him and his love for analog photography for quite a few years. His way of experimenting with analog cameras and traditional films is refreshing in these days of photoshop and Instagram. Born and raised in Italy, Giorgio lived and studied in London for ten years, traveled the world and is now based in the tropical island of La Reunion.

You can follow him and his adventures with the camera on Flickr and Facebook

You have been in the creative field for a long time, what was it that first awoke your interest?

Giorgio Giussani: I believe people are born creative. Personally, I have always loved “making” things from when I was a kid. I grew interested in graphic design and photography later on, probably around when I was a teenager. I still remember having an old Kodak compact film camera that I loved using. Somewhere along the way, I abandoned the use of film cameras, until nine years ago, when I stumbled upon a bright red Holga camera in a market in Stockholm. I’ve been using film ever since—I believe that it was that Holga camera that more awoke my interest for analog photography.

You say you used to make things when you were young, can you give us some examples?

A little bit of everything. I remember taking kids magazines and drawing a copy of the cover on a piece of paper. This was definitely one of the things I loved the most. Sometimes I was simply tracing over the magazine to copy a character or a picture; other times I was just trying to make my own characters… Not always successfully, but remember that it definitely was fun!

I’ve always loved bright colours and today you can see how this translates into my photography… I experimented with paint and colored pencils but never took this any further. You can definitely say that making things with my hands has been a constant pattern ever since I was young.

Does this streak of creativity run in your family?

I am the only creative one in my immediate family, at least when it comes to a 9-to-5 job. I believe that each individual is creative, but some show it and nurture it, others do not. Some members of my family can be creative on some tasks—my mom when she is cooking, for example—but they don’t make creativity their way of life. Perhaps some people have a need to always be creative, to experiment with their creativity, while others can be creative on occasional tasks but without having this constant urge to create.

Being the only creative one in the family, did the people around you support your goals and dreams?

I have always been supported by my family and still am. In a competitive environment like the creative one, moral support is very important. It is hard to get into a creative school, to find a job, but also the creative world (well, the world in general) is full of challenges… So support from family and friends is vital, whether you are a creative or not.

What made you decide to leave Italy to study graphic design in London?

I wasn’t happy with the education system in Italy. I studied at the Politecnico of Milan, and although it is a good university for architects and engineer I strongly think it is NOT a design school. Too theoretical, too many textbooks and too few sketchbooks. For someone like me, who love making things and experimenting, it was not a great system. I felt like I’d wasted three years studying economics, chemistry and physics, while the only thing I really wanted was to CREATE.

I found the world that I wanted at Central Saint Martins school of art. Not many books (of course I did read on my own time but wasn’t forced to do so), a lot of laboratories to experiment—printing to textile to film. I was like a kid in a candy store. The education system was based on sketching ideas all the time, it was very creative and very challenging at times. I had A LOT of fun while creating and I really enjoyed my years at Central Saint Martin. A design university for creative should not be boring… It has to be fun and very experimental. I loved it and so far it was the best decision of my career.

After you finished at Central St Martins, you stayed in London for quite a few years, what sort of work did you work with?

I actually found my very first job in London while I was still studying. It was a great opportunity to start. Just a small agency working as graphic designer, a good school to learn about the reality of graphic design. I worked in other companies in the following years, moving from graphics to packaging to finish on advertising. I didn’t want to go back to Italy, seeing that the creative industry over there is not very dynamic—it is too old for the type of creativity I am looking for. London, on the other hand, is a very creative city and there are many opportunities over there. There I developed my skills as a photographer and I also ran workshops in creative photography for two years. I did a couple of exhibitions of my photography and I also published four books. A busy ten years in London!

You got back into analog photography after you got your hands on a red Holga during a visit to Stockholm. How has that influenced your life?

It changed my life completely. Analog photography started influencing my daily job… Sometimes I like mixing them! It changed my life so much that I never leave the house without one of my cameras, just in case I find something I want to take pictures of. When I got my red Holga, I knew nothing about film photography (even though I had used film cameras in the past. They were manual and I was way younger).

I started reading about analog photography and techniques. It was pretty much trial and error for the first few months, but it was very important a to learn the basics of film photography. I started experimenting with slide film, cross processing and achieving the bright colors I love so much. I experimented with double exposures and numerous techniques, including my latest experiments with altering the emulsion of my films with cleaning products like bleach. I sometimes love to destroy my film, I love putting them in the dishwasher or boil them in a film soup. I love the unpredictable effects and the manual process. So I can clearly say that my Holga changed my life in a very positive and creative way.

In the beginning of your love for analog photography, did you have any plan of where you wanted to go with it?

Absolutely no plan—I just wanted to try that red Holga. After I start learning about film photography, it became nearly an addiction to experiment with different films and different cameras. I bought other cameras, mostly second hand from vintage market and I kept shooting. Nearly a decade later and I am doing exhibition and publishing books of my photography. I never expected that when I began, but I believe it was a natural development. You first fall in love with something and start getting to know more and more about it until it is just part of your life. Now that I know a little bit more about film photography, I know where I want to take it. Eight years ago I didn’t have enough commercial experience, but now I can see the potential that film photography can have.

And what sort of potential is that?

A lot of people these days use Instagram. It is very popular and the effects are based on the style of film photography. There is something magical about analog that people love; the grain, the tones. Something that you can’t repeat with photoshop or computer manipulation. These effects can’t be replicated with a computer.

And how do you want to share this love that you and others have for the effects of film photography in future projects?

I started doing some fashion photo shoots for example. Analog photography is very experimental and great for these sort of photoshoots. Even Lady Gaga loved one of my pictures and tweeted it. We are so used to extremely retouched and photoshopped pictures that analogue photography is like fresh air and a capture more real, untouched emotions .
Now I’m also working on some analog videos projects and I’m planning on publishing more books of my travels and photography.

What made you decide you wanted to publish your photography in a book format?

One of my colleague once asked me ” Why don’t you publish a book of your photography?” so I looked into options of publishing and I decided to self-publish my books. So far, I published four books: two from my travels, one for kids to learn the alphabet with street art, and one about experimental film photography.

Where did you come up with the idea for the children’s book?

It was a random idea I had just before christmas. The book is about learning the alphabet with street art. Street art is very colourful and street artists produce amazing pieces. It is very eye catching. And street art is very popular with adults too, so it is a double win. It is a book for children but also a book for parents to look at street art.

And the two books documenting your travels, what do they represent for you?

Traveling and photography are my main passions. The books about my travels are showing what I discover during my trips. The first book is about London, where my first big journey started; the second book published is about my trip to the nuclear plant of Chernobyl. The collection is going to grow with more books soon: I’m working on a book about my trip to Cuba and one about my Trans-Siberian train travel.

These books are not travel guide books, but rather they show you how I see the world through the plastic lens of my toy cameras.

How do you support the travels, cameras and films?

Cameras luckily are not too expensive as they are plastic toy cameras. Film and processing is probably the most expensive part. Travelling can be cheap… I travel low budget, third class train, camping, hostels… I sell some of my pictures to finance my travelling and I don’t go out every weekend, just so I can save money for my travels.

Where would you like to go with your photography? What is your master plan…?

I usually don’t make long term plans, but I would love to be able to travel for a longer period of time, 2–3 years, to document a trip around the world. I definitely don’t want photography to become a full time job. It is my hobby, in that way I don’t have any restrictions. I can do what I want with it! It is very difficult to see where film photography will go as more and more companies are discontinuing films so the future of analog photography is uncertain.

Do you have any suggestion of how to bring it back into the eye of the mainstream again?

I think it will be very difficult to bring it back as mainstream media this days, probably due to the expensive materials and processing. It can survive as a niche market if film producers will realize that. They are still trying to sell films for the masses but only few people will use it. A problem with analog photography is that it is not immediate as digital photography. You need to process film and scan them, while on Instagram you can take a picture and upload it within seconds. I think analogue can survive but we have to work hard as to keep it alive.

Getting back to your process, do you have one?

My process: No, I don’t have a specific one. Usually it depends on how I feel. Sometimes I feel like baking my films, sometimes I feel like bleaching them. Usually it is all very intuitive with little preparation before hand.

So what is your next step?

My next step is creating new projects here on the Island of Reunion. I would like to start taking portraits of people, something I always find very difficult. I am planning to publish more books and to experiment even more with my film soups.

If you were to give some do’s and don’t’s to people who want to start doing film photography, what would it be?

DO take lot of picture and experiment. DONT think about the result
DO insist even if the first few rolls are not great
DON’T give up..keep trying
DO love analog
DON’T hate digital

A few years ago, I saw a picture of a desk that captured my eye. I can’t remember exactly where I saw it—perhaps it was this very blog—I just remember not being able to stop thinking about it. I searched the Internet to find out who had created this lovely desk and ended up on the website of Manoteca. Now, when I see something that I like, I have to tell the person who is behind it that I like their creation (or what they are wearing, or what they are singing, or what they are drawing, etc.) Call it what you will, OCD if you wish.

So I found the e-mail address for the person behind the brand, and it turned out to be a young woman called Elisa. Since then, we haven’t written much, but my curiosity for the person and the visions behind the brand is still there. So, here comes the second article about young ambitious entrepreneurs working within the creative field.

Core77: What led you to start Manoteca?

Elisa Cavani: Before creating Manoteca, I was working as a visual merchandiser for fashion companies, for more or less ten years. I traveled a lot and gained a lot of information. In those ten years, I met very respectable people with so much talent. Yet the structure of big companies crushed them—I saw many people forget the things they believed in and give up any kind of talent. I was scared because I could feel that it was happening to me as well, so I decided to “fire” myself and create something that I had had in my head for so long.

This was the beginning. I moved the furniture in my apartment and for a year I worked, lived and slept in the middle of tools and sawdust. To me, the pieces of my first collection represent the freedom of expression. I loved them so much. I spent my evenings watching them, cleaning them one by one, every single hole and crack in the material. I really treated them as if they were the most valuable things I owned. In fact, they still are.

Did your ten years of experience as a merchandiser have any influence on how you started your brand?

I didn’t think so initially, then I thought again and came up with a better answer. The visual merchandisers work with the visual language, they communicate feelings and moods but cannot use words. There is so much of this in Manoteca. There is a maniacal attitude, for which everything have to be perfect, and a meticulous attention to every detail. There is the organization and optimization of the time. There are the administrative and commercial skills, which I unwittingly absorbed and modified in favor of the brand. There is the knowledge of foreign markets that I have followed for a long time, the awareness that every person have different habits and cultural characteristics that you need to know, otherwise it is impossible to communicate. There are errors that I have made in the past, from which I can benefit today. There is a predisposition for solid and professional structure, which hasallowed the project to go around the world.

In retrospect, I should say ‘Thank You’ to my past.

So those were a few things you have taken with you from your past. Is there anything that you actively chose to distance yourself from?

I chose to stay away from the rigidity and the constraints. Everything about the creative process is has to be free rules and theories. Any kind of cross-pollination is welcome, no matter how crazy it is. There is not a fixed deadline to finish the items. It took me a year to create some of them. There is no more frustration. There is no longer an expectation. Times no longer exist, everything is mixed and changes constantly. The creative process is pure anarchy.

When working on your first collection, where did you find your inspiration?

I’ve been inspired by my moods. Each of these objects is the elaboration of a feeling, even their names are. When I completed “la Nuit de Noel,” I realized how I felt lonely and fragile, but also how that solitude was nice and beautiful. I need to create things with which I feel comfortable. The truth is that I make objects for myself. I hope this is not too selfish ;-)

You started you company back in 2010. What has been the hardest part being self-employed?

The hardest part has been, and still is, time management. When you work for a company, there is a structure that works with and for you. Everyone has a specific role and knowd how to do very well. When you work alone, every day you have a different role, and you often have to be many different people in a single day. It can be very stressful. I would love to stay all day in my lab, working hard on a table, completely submerged in sawdust, deeply concentrated… This can only happen on a Sunday or during the night. During the day, your phone rings non-stop and you have to answer, because if not, the organization doesn’t work. Mail keeps coming in, and you have to answer because people don’t want to wait, they have to work and they need information.

The funniest part is having to deal with office employees who are accustomed to talking to the corresponding colleague, and they assume that you have their own information… Sometimes it happens that they say strange things like: “excuse me but if you don’t know the international laws of the Mexican customs, I don’t know how you can work…” This makes me laugh, but the funniest thing is that it’s true. I have to. This takes a long time and a lot of organization. I’m working on it.

Working in a one-person business can be a challenge. How do you get yourself to do the things that you don’t want to do? Do you have someone special to motivate you when you yourself find it hard to do so?

I do things also when I don’t want and I reward myself with chocolate. I have someone special that motivate me and help me every day—Marco Molinelli, my boyfriend of five years. He’s a director, a musician, and sometimes my personal art director. He did the website, the shootings and our books.We live together in Bologna in a big house in the hills and our studios are in the basement. Every time I need help, I go in his studio. If it was not for him, Manoteca would not exist.

Are you working on some projects on the side of Manoteca?

Not now. During the past year, I collaborated with a friend, Marisa Cortese, who specialized in Japanese origami to create a musical installation called “In Mobile Carta.” It has been on view for three months at the International Museum of Music in Bologna. It is an installation made of a Manoteca piano connected to 5,000 origami butterflies. Each piano gavel is connected to a transparent string, stretched between the branches of trees. the spectator can sit and play the piano causing the wires to vibrate and doing so getting butterflies fly. A little part of “In mobile carta” will be presented at the design week in Milan. Come to try it.

If you were asked to choose a theatre piece for which you were going to create the scenography, which piece would it be, and what would you like to do?

My favorite pieces belongs to the theater of the absurd. For the installation “In Mobile Carta,” I built a chair called “Waiting for Godot.” It is a chair connected with a streetlamp and an armrest, which is unusable because it is occupied by a metronome that keeps track of time, but never tells you what time it is. On the back of the chair, there is an handle, so you can bring it to wait for Godot where you like.

Do you have as a long term goal for Manoteca?

The Manoteca lab remains my priority, but we are studying some smaller charming items that will be presented at the end of the year. In the future, I would love to experiment with objects from different countries. Right now I work with Italian objects, I know the culture of my country very well but I’m curious to know the other’s one and mix things up. I want to experiment, contaminate and be contaminated.

Before letting you go back to preparing for Milan Furniture Fair that starts next week, can you give us a few Do’s and Don’t’s for designers who are thinking about starting their own business?

I can only speak on my experience, it does not mean that what I’m about to say is correct because every situation is different.

Do’s:
When you can not do a thing, ask it to many people, put the information together and decide what is best suited to your project according to your logic.

Don’t’s:
Never think that the details are not important. They are fundamental and make all the difference.

This is the beginning of an interview series about young entrepreneurs around the globe working within the creative fields such as photography, product design, fashion and music just to mention a few.

Below you find the very first interview which is about Jonas Hojgaard and his up and coming Danish furniture brand Nordic Tales. It all started with the lamp Bright Sprout and have grown exponentially ever since. If you want to know more after reading this little interview, you will find him in Milan during the furniture fair April 7–13.

Core77: What inspired you to start Nordic Tales?

Jonas Hojgaard: Nordic Tales is the product of an idea about that it is possible to handle the whole range, from idea to development to sale, as a designer! You don’t have to wait for somebody to approve or disapprove your ideas to realise them! A design business put in the world, mainly and primarily to contribute with aesthetics and secondly to earn money will have a set of values that the general business man can’t compete with.

What would you say are the values that define Nordic Tales?

We are storytellers just as much as we are designers. We try to contribute with products that you can influence and give your own touch. We grant you with “the power to design!”

Maybe the fascination about this remodeling / customizable thing comes from all the years I spent playing with Lego as a kid, or maybe I’m just curious.

When I design, I always try to achieve some complexity, to make it more than what it is! My ultimate goal is to do this and then hide it and let you discover the products’ true features—it surprises you and gives you that very special “A-ha!” feeling!

Besides this, my goal is always to make something that you can’t really describe why you like. The design should be a sum of many small details, balanced so that none outshines the other. The experience of the design should resolve in an emotion that you like and not any particular characteristics that you can point out.

I find it much more challenging to achieve this in design than in, say, photography. Design is more difficult especially because it has to be producible on a large scale. Photography is much easier since it consists mostly of visual parameters.

When you talk about surprises and little things, can you give me a few examples of what this might be?

By surprises, I mean things that are not visible at first sight—I want to create a deeper layer for those who really pay attention. Obviously this is much harder to do in design than photography, where you traditionally work with three depths that create a hierarchy in the photography. You have a focus and something in the foreground and some in the background—this allows you to compose and control how people read the photography, and in which order.

Usually I try to work with the construction of the design as the “background.” The hope is that you will not truly understand the full functionality or construction concept before you touch the products. For example, the “Framed” series is based on bendable wood, which makes the pieces easily collapsible by removing the brass pipes.

In your collection, you have products designed both by yourself and by others. How do you decide on which designers to work with?

In Nordic Tales, we value the designer’s personality just as much as the design itself, as the personality usually is reflected in the design. We tend to choose strong entrepreneurial personalities, especially if we choose to work with a designer outside Scandinavia. The idea is that the designer should not only provide us with a design but become kind of an ambassador for the brand.

The brand’s name is Nordic Tales, which captures the appeal of your products. How do you stay true to the brand when working with non-Nordic designers?

When we work with external designers, we are always involved in the process at some level; so far, no design has arrived finished in our perception. Nordic Tales is all about involving the buyer in the design process, and let them give the design a final direction, so we meet that goal by being involved in refining the design from external designers. Furthermore, we make sure that the design we assign lives up to the traditional standards of Scandinavian quality and aesthetics.

You started this company on your own, without really having finished university—what led to this decision?

I started the company doing second semester of my masters in architecture. Nordic Tales was simply too interesting and needed my full attention. I must say that I had some sleepless nights making the decision, but I have never regretted and I find comfort in the fact that some of my idols never finished university.

So who are these role models of yours, and what is it that makes you think of them in this way?

Obviously the man I’m referring to is Steve Jobs, even though it might sound cliche. I am fascinated not only in his products, but also by his ability to get people to work, and get back on the horse when knocked off.

This fascination with design and photography, do you know where it comes from? Is there anyone in particular that has influenced you?

As a kid, I always had ongoing projects where I created things. For example, when I was about 6, I made a foam kisses throwing machine! I was very determined and persistent in my projects and got really mad if I didn’t succeed (which is still the case today…).

Also, I already had the entrepreneurship mentality as a kid—I bought a color printer at the age of 10, for the purpose of making money by selling A4 prints to my classmates. And I guess my fascination of photography began on a trip to Indonesia in 2008. Not only the visual part of photography, but also the ability to communicate with people whom I could not speak with.

So what was it that made you start studying architecture at Aarhus School of Architecture back in 2007 if hadn’t had your design epiphany yet?

Actually, the plan was to study medicine, since my family is in the medical industry. Unfortunately the acceptance quote at Aarhus University was exceptionally high that year, so i figured that I better not waste my time trying, so I applied for architecture and got in!

From thinking about following your family tradition of medicine to falling into the world of design and photography. How do you use these three worlds inform your approach to design

I was always very fond of biology and math in school, when I was preparing for Med school. I think that my fascination with natural occurring rhythms and symbiosis between living organism might be reflected in some of my designs, since I tend to follow certain rules when I create something new.

So you have a Bachelor’s degree in architecture, you have worked as a photographer, and are now running your own design brand—do you have any new projects coming up?

I think that everybody is familiar with the term “displacement activity,” and when everything gets a little to serious, I tend to spend some time on a specific displacement activity, a new brand called Since2050—this is a much different universe than Nordic Tales, kind of opposite you might say. This universe is a great counterweight to the aesthetic values in Nordic Tales, and sometimes working with the opposite makes me more certain about what Nordic Tales really is about.

Tell me about Since2050—what does this new project stand for?

The brand Since2050 is a textile and accessories brand that does bags and basic wear.
the universe has its roots in the future, and is loosely inspired by a happening occurring in 2050. The idea is that from this date everything will be executed differently. I work on different collections, some based on a post-apocalyptic reality, other based on a highly developed eco-society, depending on my mood.

You already have one brand up and running, is there anything you do differently when starting up this new brand of yours?

If I should start a brand today, in the case that Since2050 will not remain a “castle in the sky,” I will be in a position to predict future obstacles in another scale, avoiding unexpected things to occur out of thin air. Things that are only problems because you are unprepared, but would have been possibilities, if they had occurred in the horizon.

What has been your greatest challenge with Nordic Tales?

The most challenging thing about starting any kind of business that involves the full spectrum, from innovation, production, marketing and sales, is to work with all this at once. Creativity is limited by rules, yet at the same time production most definitely depends on them. Also, sales is about being very extroverted, which can be difficult if you are deep inside a creative process.

How do you, personally, handle these various layers of the business?

I have been in all levels of the business, so it is rather easy for me to color the work. Some of the work is blue-colored routine work, such a service, which is delegated to the staff. Other things, such as optimizing the cash-flow or the supply chain, are a little more tricky and you have to be very committed to succeed—therefore I’m primarily responsible for this part of the business. It can be very difficult to go from this one opposite to another where you have to lose yourself in a creative process. But it comes more naturally now than it did when I first started. Early in the project, I used a lot of energy in this transition.

One last question before we wrap up this little interview: As a young entrepreneur, can you give us a few pointers of what to think about when starting up a business? Some Do’s, Don’t’s and Keep-in-mind’s.

When you are starting a business, nobody will acknowledge that you run a business before you have proven it to them, and to some, you even have to prove it twice. You have to do the walking yourself, and you will fail repeatedly until you succeed. You will tend to give up, and have “sad Sundays,” when you ask yourself if it is really worth it. But doubt in your project will only slow you down. Doubt is delay.

See Hojgaard’s work at Nordic-Tales.com.