Highlights from Melbourne Design Week 2022.

Melbourne Design Week returned for another year and with it a fresh wave of talent. The annual ideas-driven event is held all over the city, throwing makers and producers into the limelight as they respond to the theme Design the world you want. With the hard work of the local design community steadily paying off, Melbourne has really cemented itself as the design capital of the country and a Mecca for those of us looking for our fix.

This was my first time visiting for the Design Week and, as a fairly new addition to the Yellowtrace team, I was over the moon just to be there—to soak up the energy, learn, listen and, honestly, with the weather Sydney and the greater NSW has been experiencing this absolutely haunting summer—soak up some rays.

This year saw the return of many of our favourite shows alongside some pretty special debuts from emerging designers and even a few firsts for the Week. With NGV at its helm, in partnership with MAF, the inaugural Melbourne Design Fair opened with a bang and huge potential for growth and, adding to the critical mass, commercial partners really stepped it up with a small but mighty group seizing the opportunity to exhibit. Presenting very strong showcases in showrooms and even on location, they did not disappoint.

As someone who entered the events with no expectations, what struck me the most was not how effortlessly cool Melbourne is, which, c’mon, is no big secret, but it was more the sense of possibility in the air, bolstered by an overwhelming sense of community. This is something I’ve long heard from friends who have moved down to Melbourne—who I’ve seen blossom from afar, making new friendship groups, breaking into the music scene or starting their own magazine from scratch. But it was something else entirely to experience up close, and while I may have effectively been a tourist, this trip I felt anything but.

As the Week grows so does its representation, with a groundswell of First Nations exhibitors, talks and educators descending upon Melbourne this year, creating space for Indigenous thinking in the world of contemporary design. At RMIT Design Hub, JamFactory presented a selection of creative collaborations between First Nations artists the designers and their resident skilled makers across furniture, ceramics, metal and glass. The Aboriginal and Torres Strait Islander not-for-profit organisation Agency held a series of breakfast conversations around the expertise and ingenuity of Indigenous design in Collingwood Yards. And in the courtyard, Tait opened Recultivate, an exhibition that explored the preservation of indigenous plants through considered biophilic design.

The Melbourne Design Week Award, presented by Mercedes-Benz, was awarded to Revival Projects for Zero Footprint Repurposing, a world-first free hub for repurposing waste from construction and demolition. Stylecraft also presented their biannual Australian Furniture Design Award in partnership with JamFactory, this year awarded to Ashley Eriksmoen.

Ok, now let’s get into it!

Related: The Good, The Inspiring & The Talented: Melbourne Design Week 2021 Video Highlights.

This Yellowtrace Promotion is produced in partnership with NGV and Melbourne Design Week, with additional support from Spence & Lyda, VBO Australia and Space Furniture. Like everything we do, our partner content is carefully researched and curated to maintain the utmost relevance to our audience. Thank you for supporting the brands that support Yellowtrace.

Invited to exhibit as part of Melbourne Design Week 2022 by Tolarno Galleries, Perth-raised industrial designer Adam Goodrum and Paris-born straw marquetry artisan Arthur Seigneur, who collaborate as A&A, have designed an asymmetrical cabinet with two columns, four doors—and one delightful surprise when said doors are unlatched. Photo: Andrew Curtis.

The geometric design is also redolent of Lance Wyman’s multi-lined typeface for Mexico City’s Summer Olympics in 1968 and Tony Wenman’s Stripes typeface, which he created for Letraset in 1972. Photo: Andrew Curtis.

When the cabinet is activated by the opening of its doors, what was merely graphic becomes anthropomorphic as the design is transformed into two figures, one tall, one short, united in an unbreakable bond. Photo: Andrew Curtis.

With a dynamic lustre and illusion of depth provided by its surface, every square centimetre of which has been meticulously hand-decorated with thousands of sections of rye straw imported from Burgundy, which Arthur dyes in an array of custom hues. The shape-shifting cabinet contains diamond-shaped voids within each of its columns, both of which incline towards each other ever so slightly to underscore the closeness of the maternal bond. Photo: Andrew Curtis.

Complementing Mother and Child is the Continuum table, whose similarly ingenious form comprises an extruded equilateral triangle with slanted sphericons at either end. The unique work’s head-scratching shape means it can be positioned in two different ways, completely changing its appearance in the process. Photo: Andrew Curtis.

Barbera Studio presented a historical design narrative, held within the Bates Smart Gallery, reflecting on the process of sand casting—that hasn’t changed much in the last 5000 years. Photo by Sean Fennessy.

The activation highlighted the studio’s material evolution and production processes, utilising sand with curated cast componentry and its relationship to ceramics in various states of production. They chose old BCE minerals and material exploration including bronze, ceramics, and glass. Photo by Sean Fennessy.

Detail shot from the Barbera Studio installation held at Bates Smart Gallery. Photo by Sean Fennessy.

Ceramics on display at the gallery. Photo by Sean Fennessy.

Another detailed shot of the installation. Photo by Sean Fennessy.

Material Culture, presented by Marsha Golemac, was an exhibition that offered a space for artists, and guests alike, to imagine a world where yesterday’s ideologies and tomorrow’s innovations can coexist. The exhibition encouraged participants to embrace traditional and ultra-modern techniques in object design. 16 participants across varying artistic and cultural backgrounds created an object that examines old and new, either via ideas, processes, systems, or materials. Photo by Annika Kafcaloudis.

‘Thrown’ Chair made from marble waste and steel offcuts by Second Edition. Photo by Annika Kafcaloudis.

‘Warp, Weft’ anodised aluminium and felt by Nicole Lawrence. Photo by Annika Kafcaloudis.

‘Grid XI’ wool and cotton on metal mesh by Jacqueline Stojanovic. Photo by Annika Kafcaloudis.

‘Centurial Study’ polymer clay by Tamara Maynes. Photo by Annika Kafcaloudis.

‘My limbs my veins dilate’ moneterey cypress, automotive paint, stainless steel, petg plastic, Jeremy Blincoe. Photo by Annika Kafcaloudis.

Corner bench by Another Bureau of Design. Photo: A. Kafcaloudis.

‘Dolphin Lamp’ brass, PCB board, electronic driver by Fletcher Barns. Photo by Annika Kafcaloudis.

At Heide Modern, Relatively Useful is a survey of works in timber, steel and ceramic designed by John Wardle and Simon Lloyd. In realizing their designs, John and Simon have worked with twenty-five local makers resulting in an exhibition set within McGlashan and Everist’s iconic modernist building. Seen here is the Pi R2 A Dining Table (2022), designed by John Wardle, made by Fraser Matheson & Andrew Lowe. 725mm x 1000mm x 1450mm. Tasmanian Oak supplied by Hydrowood, Tasmania. Photo by Pier Carthew.

In Clover Dining Table (2022), designed by John Wardle, made by Bryan Cush. 1100mm x 3200 mm. Tasmanian Leatherwood and Tasmanian Oak supplied by Hydrowood, Tasmania. Photo by Pier Carthew.

On the back shelf, Systems Vases (2017-2022) designed by John Wardle & Simon Lloyd. Prototyping and moulds by Simon Lloyd/ Sajo Ceramics; Variable dimensions. Porcelaineous casting slip. Photo by Pier Carthew.

A Low Table for a Rug (2022), designed by John Wardle, made by Adam Browning. 350mm x 700mm x 1190mm. Tasmanian Oak supplied by Hydrowood, Tasmania/Inax tiles from Artedomus. Photo by Pier Carthew.

In its second year at Volker Haug Studio, After Hours is an exhibition of side projects by a select group of Australian artists and designers—show explored the artistic projects and passions which live beyond their main practices. Seen here is Reflection on the Garden by Kennedy Nolan with Amanda Oliver. Photo by Pier Carthew.

Residency I/II by Morgan Hickinbotham at After Hours. Photo by Pier Carthew.

Metal seats by Anna Varendorf for ACV and behind Two Faces In The Dark by Michael Gittings. Photo by Pier Carthew.

Sydney based designer Olivia Bossy presented her first collection, Objects 2022, comprising four pieces including a standing lamp, wall lamp, side table and daybed. Photo by Sean Fennessy.

Olivia alongside her works at Geoffrey Hatty Applied Arts — her pieces comfortably sitting amongst century-old furniture. This layering and rejection of a certain trend-driven interior are becoming concepts that are central to her work. Photo by Sean Fennessy.

Daybed by Olivia Bossy. Photo courtesy of Olivia Bossy.

Standing Lamp by Olivia Bossy. Photo courtesy of Olivia Bossy.

First and foremost MDW is a place to share ideas, educate and push the envelope to consider how design can be used as a force for good in an increasingly complex and precarious world. With four days in the city and an excel spreadsheet of our every move, we may not have been able to see everything, but what we did see was pretty sexy—here are some of the highlights of this year’s Melbourne Design Week.

Held at Tolarno Galleries, Mother and Child by Adam Goodrum and Arthur Seigneur (aka Adam&Arthur) is a departure from the riot of colour usually present in the duo’s work, and boy has it paid off. The curious sculptural forms, made from dyed rye straw and birch, intentionally blur the line of art, craftsmanship and design to allow the emergence of something unexpected.

Off the beaten track in the dazzling modernist icon that is Heide Museum by McGlashan and Everist, John Wardle and Simon Lloyd put on Relatively Useful. The exhibition saw John and Simon work with twenty-five local makers on a survey of pieces in timber, steel and ceramic. The humbly powerful showcase celebrates the talent and skill of a range of makers from Melbourne, regional Victoria and Hobart, with the duo describing the pieces as “gradients of collaboration”—designed both individually and together through many conversations and a platform of shared drawings.

A series of group shows interspersed in and around the trendy inner suburbs really took it to another level this year with a focus on experimentation and multidisciplinary cross-contamination. Following the success of last year’s debut edition, Volker Haug Studio returned with After Hours, a show celebrating the artistic pursuits of a select group of Australian artists and designers, exploring their artistic projects and passions, which live beyond their main practices.

Melbourne creative powerhouse Marsha Golemac also returned,  bringing together 16 diverse designers, makers and artists for Material Culture, an exhibition that saw participants embrace traditional and ultra-modern techniques in object design. Purposeful in nature, as defined by the participant, the object is a representation of the world they want to live in.

Our favourite mavericks, New Assemblage were back on home turf at Oigall Projects on Gertrude Street with a weird and wonderful showcase that saw participants play, grow and experiment with materiality and mediums. The very visual, textural and tactile showcase didn’t take itself too seriously, with each piece finding a playful perspective on their chosen piece.

There was also a rise of fresh faces making their debut throughout the 11-day event. Sydney based Olivia Bossy presented her first furniture collection Objects 2022, with the classic designs sitting very comfortably in the Geoffrey Hatty Applied Arts amongst century-old furniture. Comprising of 4 pieces, including a standing lamp, wall lamp, side table and daybed, the collection is made from timber, stainless steel and natural textiles, with each piece handmade in collaboration with local craftsmen in limited edition runs.

Showcase by NEW ASSEMBLAGE presented emerging and established designers, artists and craftspeople from around Australia exhibiting developed and experimental work. Held at Oigall Projects on Gertrude Street here are just a few of the weird and wonderful creations. Photo by Annika Kafcaloudis.

Italian Summer 2021 by Jill Stevenson and Moodlight by Belle Thierry. Photo by Annika Kafcaloudis.

Dimensioned Chair by Livio Tobler. Photo by Annika Kafcaloudis.

A Quiet House by Ryan Hoffman. Photo by Annika Kafcaloudis.

Basalt Table 1 by Dalton Stewart. Photo by Annika Kafcaloudis.

Ode to Heidelberg by Queena Grot. Photo by Annika Kafcaloudis.

Sweet Horseshoe by Elizabeth Lewis. Photo by Annika Kafcaloudis.

Thomas Maxam presented their inaugural product launch ‘Bricks: A Material Belonging to Place’ also held at Oigall Projects. ‘Bricks’ is a collection of slow poured, pressed glass luminaires that emulate the form of a traditional Australian house brick. Photo by Annika Kafcaloudis.

Bricks by Thomas Maxam at Oigall Projects. Photo by Annika Kafcaloudis.

Bricks by Thomas Maxam at Oigall Projects. Photo by Annika Kafcaloudis.

‘Improper Structures’ revisits everyday objects within our interior spaces. Eight contemporary makers working across ceramic, textile, furniture and glass disciplines eschew notions of pure functionality to engender connection, play, intimacy, comfort and reward. Works illustrate a fluidity between artistic expression and domestic life; material mutations, simple pleasures, hybrid forms, and narrative disruptions rule our domain. Seen here is Bite Me (2022) by bespoke furniture maker and designer Thomas Lentini. Photo by Sean Fennessy.

Caro Pattle’s Home run series features five soft-woven trophies to be awarded to us all for our collective achievements. Over the last two years, the connection between individual and community has been rendered even more explicit. Just like primary school cross-country day, we are all entitled to a participation award during a global pandemic. Each trophy is handwoven using coil basketry and knotting techniques. The vessels themselves are soft and malleable; the perfect domestic object when home comfort is everything. Photo by Sean Fennessy.

The Eros Collection (2022), designed and made by Michael Gittings Studio, is a set of playthings and includes toys and tools that the user can employ to elicit responses and feelings—physical and emotional. Photo by Sean Fennessy.

Curators Eliza Tiernan and Josephine Briginshaw amongst the ‘Improper Structures’, their second exhibition for Melbourne Design Week.

Alternative Provisions presented by Craft Victoria explored how unexpected and underutilised materials, driven by the notion of reuse, are developed and used in interesting ways by today’s makers. The exhibitors each foraged for their material, whether organic matter or discarded waste product, to create works that offer production alternatives, as well as a means to tell new stories. Photo by Henry Trumble.

Installation view of Remnant Explorations series by Ella Saddington. Photo by Henry Trumble.

Installation view of Anthropic Lamp series by James Walsh. Photo by Henry Trumble.

Installation view of Biomaterial research by Alexi Freeman. Photo by Henry Trumble.

Installation view of Algae bioplastic with sawdust series by Jessie French. Photo by Henry Trumble.

Commercial Participants

It was really a week of firsts with commercial brands and retailers adding to the critical mass of the exhibits for the first time. Understanding the potential of MDW, commercial brands embraced the spirit of the event, stepping up with the installations that did not disappoint. With international and local exhibitions on show, some directly from last year’s Milan Design Week, there was an undeniable level of polish not yet seen at the MDWs of the past. And with Milan just around the corner, it was certainly the elephant in the room, from whispers to fearless declarations the question was on everyone’s lips—“Are you going?”

At Spence and Lyda’s presentation Future Collective this was particularly hard to avoid. Held for the first time at Villa Alba in Kew, the event single-handedly put the Italianate mansion on the map with even Melbourne natives confessing that they’d never heard of the venue. Lavishly decorated with hand-painted ceilings, walls and panoramic murals, this was as close to Milan in Melbourne we were going to get. The event brought international designs by Álvaro Catalán de Ocón (who attended the event in person) and Lucy Kurrein, alongside locals Jon Goulder, Broached Commissions, Fiona Lynch, Authentic Design Alliance with Ash Allen, and Otomys Gallery.

Spence and Lyda presented Futures Collective at Villa Alba, a multi-faceted Sustainability narrative for our time. The exhibition brought together award-winning local designers Jon Goulder, Broached Commissions, Fiona Lynch Studios, Authentic Design Alliance, Otomys Gallery, and international juggernauts Álvaro Catalán de Ocón and Lucy Kurrein, elevating the mindful spaces we inhabit while showcasing the creators, makers and stories behind them. All with a distinctive view to the preciousness of time, talent and planet. Photo by Sean Fennessy.

View from the hallway. Fiona Lynch’s collaboration with Volker Haug is seen through the doorframe. Falling Awake I aluminium sculpture by Greg Penn from Otomys on the left. Photo by Sean Fennessy.

Plastic Rivers, Álvaro Catalán de Ocón’s monumental rug woven with yarn made from recycled plastic debris, seen hanging in Villa Alba. Photo by Sean Fennessy.

The INNATE collaboration between Adelaide-based furniture designer Jon Goulder, and Sydney design retailer Fiona Lyda, of Spence and Lyda, Innate 2.0 launched as part of Futures Collective at Vill Alba. Photo by Sean Fennessy.

Villa Alba in all her majestic glory. Photo by Sean Fennessy.

Fiona Lynch and Fiona Lyda are pictured together in an illustrious corner of the villa. Photo by Tess Kelly.

Fiona Lynch Office launched their first capsule collection at Futures Collective. Expanding on the studio’s commitment to sustainable materials, the pieces are produced with waste materials and local fabrication. The collection is inspired by the studio’s interior design for the soon-to-open Ace Hotel in Sydney, offering a sneak peek of the upcoming project’s custom-made furniture, textile and joinery elements. Photo by Tess Kelly.

Armchair and low set stool by FLO utilising raw building materials sourced from Ace Hotel’s construction site. Photo by Tess Kelly.

FLO partnered with Volker Haug to craft this highly curated light. Photo by Tess Kelly.

The Innate 2.0 desk by Jon Goulder for Spence and Lyda in blonde wood, launched at Vill Alba. Photo by Tess Kelly.

Álvaro Catalán de Ocón’s Plastic Rivers floor runner and sculptures from Ottomys Gallery seen through the doorway. Photo by Tess Kelly.

Innate 2.0 coffee tables by Jon Goulder for Spence and Lyda. Photo by Tess Kelly.

Lucy Kurrein’s new modular sofa for Molinari, Bibendum features a seat made of large square lined leather cushions, placed inside a luxurious shell. Seen here with art curated by Otomys Gallery. Photo by Tess Kelly.

Installation view at Villa Alba. Photo by Tess Kelly.

More iterations of the Innate 2.0 coffee tables by Jon Goulder for Spence and Lyda featuring the incredible Blue Roma quartzite. Photo by Tess Kelly.

Back in town, Space Furniture took a different tact, with an equally disarming offering dubbed Shaping our Future. The premium design retailer offered a visual feast with an undeniable optimistic undertone, transforming the front of their Richmond showroom into a fictional apartment. With three curated rooms, the installation hinged on the idea that “the value of design is not only judged through its functional or aesthetic impact, but on its environmental and social impact on the planet.”

Designed by Nat Turnbull, the concept apartment was an otherworldly look into the brand’s philosophy to engage with furniture and objects that express quality, function, beauty, and overwhelmingly—product longevity.

Featured alongside the installation was a series of dreamlike digital art by Tom Hancock’s inspired by nature that recreates each room of the ‘apartment’ and blurs the boundaries between fantasy and reality. Taking a closer look at their design collections through the lens of ethical and sustainable practices and reviewing their own business systems, the showcase marks the beginning of a journey for the retail brand on the path to becoming carbon neutral. Hear hear!

Space devised a visual feast for their inaugural Melbourne Design Week offering, transforming the front of their Richmond showroom into a fictional apartment with a corresponding digital art series by Tom Hancocks. With three curated rooms the installation hinged on the idea that “the value of design is not only judged through its functional or aesthetic impact but on its environmental and social impact on the planet.” Pictured here is ‘7 pm, Dusk’ render, featuring the following products from the Space Collection: Baxter Milano bed; Giorgetti Summa small table; Glas Italia Simoon coffee table; Gebrüder Thonet Vienna GMBH Around Colours rug; Foscarini Nuée ceiling light; SP01 Royce armchair; Foscarini Tobia floor lamp. Photography by Haydn Cattach. Digital art by Tom Hancocks.

‘Shaping our future’ installation at Space Melbourne. SP01 Royce armchair sits on Gebrüder Thonet Vienna GMBH Around Colours rug.

Night scene render features products from the Space collection as follows: B&B Italia Outdoor Husk armchair; Moooi Obon table and Foscarini Gioia wall light. Photography by Haydn Cattach. Digital art by Tom Hancocks.

‘Shaping our future’ installation at Space Melbourne featuring B&B Italia Outdoor Husk armchair and Foscarini Gioia wall light, looking through to Acerbis Storet drawers.

3 pm Afternoon scene of ‘Shaping our future’ render features products from the Space collection as follows: B&B Italia Camaleonda sofa; Edra Cicladi side tables; Acerbis Storet drawers; Roll & Hill Atlas table lamp; Living Divani Offcut bookshelf; SP01 x Rometti accessories range; Gebrüder Thonet Vienna GMBH Around colours rug. Photography by Haydn Cattach. Digital art by Tom Hancocks.

‘Shaping our future’ installation at Space Melbourne.

‘Shaping our future’ installation at Space Melbourne.

‘Shaping our future’ installation at Space Melbourne with a front view of the Acerbis Storet drawers and part of the B&B Italia Camaleonda sofa.

‘Shaping our future’ installation at Space Melbourne with a view of Acerbis Storet drawers and a peek of the Italia Outdoor Husk armchair.

‘Shaping our future’ installation at Space Melbourne.

‘Shaping our future’ installation at Space Melbourne featuring B&B Italia Outdoor Husk armchair, Moooi Obon table and Foscarini Gioia wall light, looking through to Acerbis Storet drawers.

VBO Australia presented Light the World You Want at their Laboratory of Light in East Melbourne. Art directed by Marsha Golemac, the exhibition was a richly layered and immersive experience that plunged visitors into the eight Viabizzuno lighting philosophies unique to the Italian lighting brand.

Transformed into a gallery-like space the exhibition applied light to surfaces, spaces and objects in a breathtaking display that allows us to emotionally connect and attain a sense of wellbeing.

Following Marsha’s vision, VBO’s entire showroom was blacked out with only artworks by nine artists carefully illuminated by Viabizzuno lighting. Team Yellowtrace had the pleasure of walking through the exhibition during our stay and VBO team’s enthusiasm and willingness to educate us on the eight principles of light made for a memorable and infectious showcase. We may have even been nerd-ing out on light ourselves.

VBO Australia presented Light the World You Want—an exhibition of the Viabizzuno lighting philosophies through a series of exhibits demonstrating the Viabizzuno unique ethos. Art directed by the creative powerhouse Marsha Golemac, this richly layered and immersive experience allowed visitors to plunge into eight lighting principles unique to the Italian lighting brand founded by Mario Nanni, who regularly collaborates with blue-chip architects from around the world.

Light only where needed versus Untitled, 2021⁠ High purity optical glass⁠ 36cm x 12 cm⁠ courtesy of Red Moon Contemporary Art Glass Gallery⁠. Photo by Dan Hocking.

Light only where needed versus Untitled, 2021⁠ High purity optical glass⁠ 36cm x 12 cm⁠
Courtesy of Red Moon Contemporary Art Glass Gallery⁠. Photo by Dan Hocking.

The excitement of nothingness versus The Weight of Love, 2018⁠ by Lincoln Austin,⁠ Synthetic polymer paint, polyurethane varnish, galvanised steel mesh 52 x 76 x 63 cm.⁠ Photo by Dan Hocking.

Viabizunno’s lighting principle The Thickness of Light demonstrated with an artwork by Helen Redmond, Yumebutai (Ferrugo), Oil on Canvas, Warm Charcoal Shadow Box Frame, 102 x 81 cm. Photo by Dan Hocking.

Tribute to shadow versus Patrizia Biondi’s sculpture Rehabilitating Time—the Ephemeral Suspension of History in the Landscape of Post-Industrial Relics 2020, bronze 41.0 x 53.0 x 14.0 cm. Photo by Dan Hocking.

Light generates colour. versus Louise Paramor’s, Boomtown #18, 2020—Bronze, stainless steel, pigment, patina 103.0 x 31.0 x 31.0 cm. Photo by Dan Hocking.

Melbourne Design Fair

Making its MDW22 debut, The Melbourne Design Fair was a 5-day showcase of the best collectible contemporary design from over 100 Australian designers and makers. The NGV initiative, presented in collaboration with the Melbourne Art Foundation, is a new venture in the presentation, promotion and sale of emerging and established Australian design. Split into two platforms—Present and Select—there was something to explore for everyone across furniture, lighting, object and speculative design.

Present unveiled thirteen of Australia’s leading commercial galleries, design organisations, agencies and studios with dedicated displays by the design creatives they represent.

Meanwhile, Select, curated by NGV’s Simone LaAmon, brought together over thirty-six Australian creatives in a compelling exhibition of pieces available for sale.

Presented as part of Melbourne Design Week, the inaugural Melbourne Design Fair is a commercial showcase of limited edition, rare and one-of-a-kind collectable design by Australia’s leading emerging and established contemporary designers and designer-makers. An initiative of the National Gallery of Victoria in collaboration with the Melbourne Art Foundation, the Fair was split into two platforms, Present dedicated to displays by leading commercial galleries and Select, a curated selection of Australian creatives with all the design works presented available for purchase. Photo by Sean Fennessy.

Scenes from Select section at the inaugural Melbourne Design Fair. Photo by Sean Fennessy.

The Fidele Luce Recall Three by Broached Commissions. Photo Courtesy Of Broached Commissions.

Detail of the Fidele Luce Recall Three by Broached Commissions. Photo Courtesy Of Broached Commissions.

The Modern Times display at the inaugural Melbourne Design Fair. Photo by Sean Fennessy.

The Luke Storrier Rosewood Series presented by Local Design. Photo Daniel Goode.

Anna Varendorff’s Bubble Door Knob presented by Local Design. Photo Daniel Goode.

Emma Elizabeth’s 180 Degree Vessels Bubble Door Knob presented by Local Design. Photo Daniel Goode.

Constellate Vase by Jordan Fleming, presented as part of Select at Melbourne Design Fair. Photo courtesy of Jordan Fleming.

Self Portrait presented by Friends and Associates exhibited 22 self-portraits by Australian creatives, telling us who they are in this moment. Creatives were encouraged to think about their personal and professional selves, representing themselves in a single object. Photo by Sean Fennessy.

Curators Dale Hardiman and Tom Skeehan at the Friends and Associates exhibition set within RMIT Design Hub. The two friends have presented six exhibitions over the past five years. Photo Sean Fennessy.

Entroopy by Rosanna Ceravolo at Friends and Associates. Photo by Amanda-Santamaria.

Dromen leather lights by Studio Tops at Friends and Associates. Photo by Tania Bahr Vollrath.

Dromen leather and steel seat by Studio Tops. Photo by Tania Bahr Vollrath.

Dromen by Studio Tops at Friends and Associates. Photo by Tania Bahr Vollrath.

Profiles by Jordan Fleming at Friends and Associates. Photo by Charlie White.

In Fitzroy, Old Four Legs and Annie Paxton presented Vestige. The exhibition featured furniture and objects from both creatives exploring the in-between, underside and shadow of making through the display of paired furniture forms through a series of positives and negatives. Featuring unique one of pieces, the functional and sculptural objects trace the story between product and process to celebrate slow production, the re-use of production waste and the circular nature of making. Photo by Sean Fennessy.

Installation view of Vestige. Photo by Sean Fennessy.

Installation view of Vestige. Photo by Sean Fennessy.

Danger chair (middle) with friends by Old Four Legs. Photo by Misha Dutkova.

Oakdens Claret Chair by Old Four Legs. Courtesy of Old Four Legs.

Abacus Lamp by Old Four Legs. Photo by Misha Dutkova.

Zachary Frankel and Mikaela Stafford joined forces to present Tessellate, an exhibition that merged the liminal space between physical and virtual environments to create a hyper-reality. Held in an unconventional domestic space on Johnson Street the showcase presented a series of Zac’s innovative and sculptural pieces alongside a surreal and animated interpretation of line and form by Mikaela. Photo by Charlie Hawks.

Installation shot of Tessellate. Photo by Sean Fennessy.

Zachary Frankel and Mikaela Stafford pictured in the beautiful home in Collingwood where Tessellate took place. Photo by Charlie Hawks.

Presented by Calum Hurley, HARD is an exhibition that engaged designers and makers from South Australia to integrate found materials into a new work representative of their current practice. Imitating the rituals of sneaking out after dark to scour the streets for hard rubbish, the exhibition finds a correlation between this act and the queer upbringing in Australia and a search to find a place in society. The showcase presented new works by sculptors, musicians, ceramic and glass artists and interior and furniture designers who represent the breadth of creativity and community that is so special to the state. Photo by Sean Fennessy.

Loveseat by Thomas Yeend Früt at HARD. Photo by Sean Fennessy.

Confetti chair by Caren Elliss pictured with the curator of HARD, Calum Hurley. Photo Sean Fennessy.

Mutual Exchange is a series of new works by artists and designers invited by James Makin Gallery. The exhibition explored the outcomes of collaboration and collusion across perceived divisions of art and design. To create works for the exhibition, four artists were paired with invited design professionals. Artists and designers then created a new work that responded to an aspect of their partner’s practice. Works created for Mutual Exchange act as both portrait and self-portrait, reflecting the creative identities of both maker and subject. Pictured here is A Lick Of Paint by Nat Turnbull and Antonia Perricone Mrljak. Photo by Sam Wong.

Uncommon Ground by Belem Lett. Photo by Robin Hearfield.

Burnouts Chair by Dale Hardiman. Photo by Charlie White.

Back (2022) by Robert Malherbe.

Human Survey by Tristan Wong.

Shrine Time was a solo exhibition by Daniel To and Emma Aiston of design studio DANIEL EMMA, presented by Sophie Gannon Gallery for Designwork 06, the sixth in an annual series of exhibitions dedicated to presenting the best Australian design in a commercial gallery context. Shrine Time includes new works exploring the concept of memory — the making and preservation of memory; collective memories and cultural and personal identity; and how we deal with grief, loss and recollection. These small memorials allow for contemplation and act as reminders of people, places and periods in time of personal importance. The works also act as a home in which memories can be connected to, reflected upon, respected and celebrated. Photo by Sean Fennessy.

Shrine Time by Daniel Emma. Photo by Sean Fennessy.

Shrine Time by Daniel Emma. Photo by Sean Fennessy.

Solace is a collection of wheel-thrown lidded vessels designed and made by Claire Ellis in her Brunswick studio using ceramic materials and waste. Presented at Off The Kerb Gallery in Collingwood, this body of work is a culmination of Ellis’ research and development using transformed plastic, glass and eggshells in her practice. Photo by Annika Kafcaloudis.

The vessels are made from plastic clay bags collected from Melbourne ceramics studios that are crafted into lids, eggshells from a local egg farmer that act as the source of calcium in the glaze recipe and glass bottles from Melbourne restaurants to line the inside of the vessels. Photo by Annika Kafcaloudis.

Detail shot of Solace. Photo by Annika Kafcaloudis.

Held at Tantri Mustika Ceramics in Collingwood Yards, FOND is an installation consisting of handcrafted objects made and designed by ceramicist Tantri Mustika and textile designer Megan McNeill, which reimagines traditional domestic interiors with dream-like qualities. Photo by James Lemon.

Curated by Sally Piskuric and her creative partner Alison Lasek, Up To Us brought together women from a range of disciplines and asked them to choose a female practitioner to collaborate with. Together they produced a creative response to the question: “What if it is up to us?”. Pictured here is designer and artist Evi O’s offering of 16 artworks based on 16 conversations with female leaders across the industry—see if you can pick which one is Dana’s. Photo by Ying Ang.

Hear, Hear by Beci Orpin and Ella Waimarie Reweti. Photo by Ying Ang.

Time and Space to Fail by Pascale Gomes Mcnabb and Tai Snaith. Photo by Ying Ang.

Andromeda Light Sculpture by Kate Stokes and Amanda Dziedzic. Photo by Ying Ang.

Make the invisible VISIBLE by Jo Hook & Adele Winteridge.

Back view of Hear, Hear by Beci Orpin and Ella Waimarie Reweti. Photo by Ying Ang.

[Images courtesy of NGV and the Designers. Photography credits as noted.]