Furniture & Product Designer Tom Fereday

Tom at work in his Camperdown studio. Photo by Sean Fennessey.

Photo by Sean Fennessey.

The Sana Vase from Tom’s first homewares collection, made from cast crystal glass. Photo by Sean Fennessey.

The Bow Chair at home in Tom’s studio. Photo by Sean Fennessey.

The Wes Lounge 2015—named after the always elegant Wes Anderson. Photo by Sean Fennessey.

A unique figure in today’s design landscape with his star on the rise, Tom Fereday develops furniture and objects through a process of inquiry and collaboration. Fascinated by the tension that lies between natural materials and contemporary design and manufacture, the Sydney-based industrial designer seeks to create something honest and enduring in everything he touches.

Working at every stage of design, from concept through to production and development alongside skilled makers and brands, Tom interrogates the role objects play in today’s world. The designer works with new innovations with the intention to elevate the essential beauty of both material and form rather than take away from it. “At its essence, I am trying to create a body of work that grows, that is not replaced and may last a lifetime or longer,” Tom says.

For such a young designer, he’s already collaborated with some of the best local and international institutions and brands, including bespoke commissions for Louis Vuitton and The Art Gallery of New South Wales—and he’s only just getting started. His latest collaboration with Agglomerati, Cor, presented at this year’s Milan Design Week speaks to a design ethos underpinned by raw and natural materials. The series of towering, illuminated sculptures each exude a gravity that speaks to the fundamental nature of stone.

It’s not the first time he’s joined us in the Yellowtrace hot seat. We first interviewed Tom way back in 2014, fresh after he opened his first practice. Ten years on, and with a second outpost in London in the works, we thought it was about time we checked back in. Spoiler alert—he’s killing it!

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DISCOVER MORE

The Art Gallery Chair, designed for the Art Gallery of New South Wales in 2022. Inspired by the gallery the reading chair can be found in the public gallery member lounge and library (and can now be yours too, available for sale on Tom’s website). Photo by Sean Fennessey.

Tom’s Art Gallery chair on the way to see the Archibald Prize. Photo by Sean Fennessey.

Looking chic in the AGNSW member’s library. Photo by Cieran Murphey.

Mid-production shot. Photo courtesy of Tom Fereday.

Photo by Sean Fennessey.

Hey Tom, welcome back to Yellowtrace! Could you please briefly tell us about yourself – how did you develop your love for design and the path that led you to establish your studio?

I am a furniture and product designer based in Sydney & London with a design approach built around the celebration of natural materials. I was born in Australia but grew up in London, England studying sculpture at the Wimbledon School of Art before moving to Australia to complete honours in Industrial Design at the University of Technology Sydney.

I think my love for design began as a young designer experimenting with model making and genuinely enjoying just quietly constructing objects from available materials to create items with a sense of character or value. I think I have always had a certain naïve intuitive love of objects even when I was not necessarily aware that people actually designed them.

The Arc Outdoor Chair for Eco 2021 juxtaposes raw cast aluminium with natural canvas. Celebrating unfinished natural materials and production processes is a great distillation of the ethos behind Tom’s work. Photo by Anson Smart.

The (original) Arc Studio Chair with leather seat pad. Photo by Anson Smart.

Photo courtesy of Tom Fereday.

It’s not just his furniture that is beautiful, case in point is his Suono Speaker seen above. Photo by Fiona Susanto.

Is there something that’s fundamental to your practice, your philosophy and your process?

I try to celebrate the natural beauty of materials through unique designs with the intended outcome of both aesthetic and functional longevity. At its essence I am trying to create a body of work that grows and is not replaced, that may last a lifetime or longer. I term this as quiet innovation to mean developing or working with new design innovation that does not take away from its essential beauty of both material or form.

How do you describe your design sensibility and your aesthetic?

I would say my work is considered, it is built upon a functional concept or problem that I try to solve in the most beautiful way possible. Built on the principle of honest design I try to celebrate the materials and manufacture behind furniture and objects, guiding considered and thoughtful design outcomes that are considered from every angle and made with nothing to hide.

Cor Light for Agglomerati, presented at Alcova for Milan Design Week 2023. The collection comprises six monolithic totems made from Roman travertine. Photo by Alejandro Ramirez Orozco.

Photo by Alejandro Ramirez Orozco.

How do you go about establishing a concept and an overall direction for your pieces/ collections?

Ultimately my goal is to create objects with both aesthetic and functional longevity that grow on you over time, this often leading to quiet considered pieces that upon closer inspection reveal their design consideration or nuance. I try to make genuinely meaningful objects that warrant the investment and energy that must be placed into creating them. It is very important to me that the works we create solve a problem or need and do so in a way that is both sympathetic to the materials and functionally elegant.

Your work feels very material-driven. Can you tell us a bit about this and how this guides your design process?

I think the beauty and character of natural materials are both incredible and meaningful to people. I am often trying to celebrate the natural characteristics of natural materials to not overwork a design rather enhance the material and experiential interaction with an object. If you stop to appreciate just how incredible it is that a piece of timber of stone came about I think is only right that we garner as much respect and careful consideration as possible to its ultimate use.

Cove Aluminium limited edition lounge chair, designed for his joint Melbourne Design Week 2023 show VERSA with Melbourne designer Charlie White. Photo by Pier Carthew.

Photo by Sean Fennessey.

Photo by Pier Carthew.

Cove Lounge for Sydney Design Week 2022. Photo by Tim Robinson.

Photo by Tim Robinson.

Photo courtesy of Tom Fereday.

Louis Vuitton No.2 for Edition 2019. A collaboration with Louis Vuitton to produce bespoke furniture for their entire Sydney store (a pretty huge deal!). Photo courtesy of Tom Fereday.

How do you approach collaborations with other creatives and the brands you work with? What are some of the things you look for when partnering with other people and brands?

We try to work with people who have a shared ethos towards a materiality and a design goal of honest design. It has been a very organic process, sometimes people have resonated with our approach and way we work and sometimes vice versa. Ultimately it is not about how big or small a project is but that we share a common sensibility and inherent respect towards a desired outcome.

What are some of your favourite collaborations/ projects in recent memory?

I am immensely proud of the work created for the Art Gallery of New South Wales. Having the opportunity to create bespoke gallery ottomans and furniture across the entire gallery, library and members’ lounge has been an incredible honour. Both the space and importance of the building to me personally have resulted in an incredibly rewarding portfolio of work.

The Fereday Ottoman 2021, designed for the public spaces of the AGNSW. Photo by Fiona Susanto.

Photo by Fiona Susanto.

A little behind-the-scenes action moment of the Fereday ottoman. Photo by Fiona Susanto.

Looking back at your achievements so far, what is one thing you are immensely proud of?

I think some of the early collaborations that set off my career have not only set up a sustainable foundation for my studio but also allowed me to meet and engage with some incredible people and companies in the design industry. These would include companies such as DesignByThem, Nau Design, Rakumba Lighting, SP01, and people that saw promise in my work at an early stage.

What do you feel is the most challenging part of being a designer today?

I think longevity is something that is increasingly challenging in the design industry. With such a fast-paced appetite for design with needs for always new designs, I think it is harder and harder to quietly celebrate the work we have already produced.

The Federday Ottoman fits right in at the AGNSW. Photo by Fiona Susanto.

The Nami Lounge for Nau 2021. Photo by Sean Fennessey.

The Nami Coffee Table for Nau 2021. Photo courtesy of Tom Fereday.

And if you could change one thing about the industry, what would it be?

For design practices outside of the direct furniture industry to see how successful it can be to collaborate with designers. I think that collaboration can offer incredible meaningful outcomes and help support a design culture in Australia and internationally whether it be in the built environment or more object-orientated companies.

Who or what are some of your influences? What other designers, peers and creatives do you admire?

I think studying both art and design led me to be inspired early on by a number of prolific artists and designers by perhaps their persistent endeavours toward a common goal not necessarily their specific outcomes.

Mano Block for Eco Outdoor 2023. A series of limited-edition sculptural tables, previewed at Melbourne Design Week this year. Photo by Sevak Babakhani.

Mano Brick for Eco Outdoor. Made from 70 percent recycled glass and 30 percent quartz sand. Photo by Sevak Babakhani.

Port Light for Rakumba, unveiled at Milan Design Week 2022. Photo by Fiona Susanto.

The Sana Vase for Edition 2021. Photo courtesy of Tom Fereday.

Sana Incense holders, another killer piece from the Sana Collection. Photo by Fiona Susanto.

What advice would you give to emerging designers who want to follow your path?

I would say follow your own path, be led by intuition and try not to look too much at what other people are doing. Be self-reflective and prepared to change or adapt your practice based on your feelings to grow as a designer and not stagnate.

What’s next—can you share with us your vision, some of your goals and some of your current projects?

We are working on some unique bespoke pieces for the Powerhouse Museum that I am excited to share soon.

Tom whipping up some ideas in the office. Photo by Louise Kennerley.

The very cool Fereday Font Tom developed in collaboration with Studio Hiho and physical presentation alongside Matter of Sorts.

LET’S GET REAL!

What’s the best mistake you have ever made?

I continue to make mistakes year after year through self-led projects and feel that there are important learnings to be made from working outside of your comfort zone with foreign materials or processes. Often a failed design can years later offer inspiration for a new project.

Best piece of advice you’ve been given?

To listen to your own intuition, to develop work first and foremost that is meaningful to you.

Your most treasured belonging?

Some of the early sculptures I made while at Art College such as some turned wooden sculptures and ceramic works that I have not shared.

What’s one thing other people may not know about you?

I am a twin.

It’s not very cool, but I really like…

Touring factories.

The Sia Chair, 2019. Photo courtesy of Tom Fereday.