TheGoodLife

Hidden Oasis Page 7

Moment in the Sun Page 29

The Studio Page 41

Heightened Sensitivity Page 57

Sydney Store Page 65

In Bloom Page 75

The Art House Page 81

Bee the Cure Page 103

Made for Life Page 111

Product Glossary Page 119

At Jardan, our design philosophy is built on the idea that there’s solace in knowing who made your furniture and where it came from. Our in-house design studio, Jardan Lab, has been established to bring our designers and makers together to push the boundaries of what is possible in Australian design and manufacturing.

The second volume of our magazine, The Good Life, is about the people, places, furniture, and homes who come together everyday to make the Jardan philosophy ring true.

Step Inside:

Photography by James Geer Words by Nick Acquroff

Good design doesn’t just inform the way our homes look, but the way they feel. Architecture makes us comfortable and warm in the cold. It turns a house vibrant and alive when we come together to celebrate. It creates space for separation and relief when we need a  little time to ourselves.

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Hidden O

asis

Pictured (L-R)

Arte Side Table Dinosaur Designs Vase Wilfred Sofa

Right Spreckels Rug Mina Executive Chair Simone Karras Vessel

Below Franklin Sofa Bonney Side Table Flo Coffee Table Ichendorf Milano Glassware Joy Ottoman Jordana Henry Artwork Carpet Sign Rug

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Hidden O

asis

Pictured (L-R) Sunny Modular Sofa Loop Rug Bonney Side Table Cove Coffee Table LRNCE Cushion Wrap Glass Knot Jardan Editions Candle Dinosaur Designs Tableware Essie Armchair Joy Ottoman

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Hidden O

asis

LeftJean Armchair

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Hidden O

asis

Pictured (L-R)

Paperclay Sculptures Mina Executive Chair Ichendorf Milano Glassware Dinosaur Designs Tableware Denim 01 by Toby Pola Joy Ottoman

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Hidden O

asis

Left Franklin Sofa Joy Armchair Bonney Side Table Ichendorf Milano Glassware Carpet Sign Rug

Below McKenzie Dining Chair

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Hidden O

asis

Pictured (L-R) Joy Armchair Bonney Coffee Table Pom Pom Vintage Rug Valley Modular Sofa Arte Coffee Table Ichendorf Milano Glassware Jardan Editions Candle Trey Tray Maisy Fringe Cushion Ace Side Table Jean Armchair

Left Valley Sofa Arte Coffee Table Maisy Fringe Cushion Ichendorf Milano Glassware Trey Tray

Below Finch Sideboard Mist Vase

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Hidden O

asis

BelowMina Executive Chair Flo Dining Table Ichendorf Milano Glassware Dinosaur Designs Vase

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Hidden O

asis

Left Arte Dining Table Mina Meeting Chair Simone Karras Vessel

Below Preston Sideboard Paperclay Sculpture Jardan Editions Candle Arte Dining Table Mina Meeting Chair

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Hidden O

asis

Fresh out of art school in 1982, Mike Nicholls launched Roar Studios in Fitzroy, remembered today as one of the country’s most influential art movements. More than 30 years on, we take a look through the art and studio of Mike Nicholls, piecing together key pieces from a body of work that has been central to Melbourne’s fine art movement, and some of its key players.

Heading down the long driveway of the Nicholls’ family farm in Narre Warren South, you get a sense of Mike’s proclivity for work. Wood carvings and totems lay idle in every green swale and greet you at the gates. The trees by the farm house are trimmed and clipped into neat shapes. Logs are piled up on the fence line. They must have been put there by tractor.

When we pull up at the house Mike is standing by a big corrugated shed with a woolen beanie on, rolling a cigarette with rough, cracked hands. He rolls the shed door open with a thunderous noise. “Once I finish a piece I spend another week or two refining it, so that I’m really happy with it,” he says, walking through the shed. “I’ve been getting this space ready for a while.” It’s an open space with polished concrete floors and false white plaster walls. Mike’s paintings hang

Moment in the Sun Mike Nicholls

under gallery-style downlights, sculptures are dotted around the floor. Mirror, a sculpture he’s made for Jardan, is at the door; two arms reaching up in offering to a higher power.

Tied together with a masterful eye for aesthetics, the gallery space features some of Mike’s best work from the past few years. In reality, it represents just a fraction of his back catalogue. Now 59, Mike’s played his part in every major art movement in Melbourne for the last 30 years. Famously, he and a group of friends, fresh faced and just out of university, started an artist run gallery space on the clandestine streets of Fitzroy in 1982. Roar Studios would become a cultural icon, launching the careers of some of Australia’s most celebrated artists including David Larwill, Judi Singleton, Wayne Eager, Jill Noble, Sarah Faulkner, Mark Schaller and Mike. The Roar artists were notoriously precocious – which was subversive at the time – taking matters into their own hands instead of waiting for the art world to gratify them with praise.

“I had a good understanding of art and I was trained traditionally in sculpture. When I got involved in Roar Gallery I got involved in painting,” Mike says, walking past a room in the back of the shed on the way upstairs. It’s packed tightly with sculptures and paintings that he created in

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Mom

ent in the Sun

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Mom

ent in the Sun

“I call it the long apprenticeship,” he laughs. “Sure, we do our work because we want to leave a mark on society. But also, this is just what I do when I get up in the morning.”

those early days. “We had a definitive style, but after a few exhibitions I decided that my work was becoming too busy – so I refined it and moved onto something new.”

Upstairs paintings are rolled up and stuffed into pigeon holes. Hundreds of them, racks of canvasses splashed with dried paint and magazine and newspaper clippings scattered about the floor. Minutes after meeting Mike and looking through his collection you come to understand that he has, over a long period of time, developed his own visual language. It’s something that very few artists do; something that takes a lifetime of work.

He’s unbelievably prolific and proficient – something most of today’s up and coming artists can’t boast. “Until you’ve developed your own language, then you haven’t

finished as an artist,” says Mike. “Very few artists have actually achieved that. I’m just starting to do my best work now.”

Sat in chairs upstairs, we talk about the strange dichotomy that every fine artists goes through. Where a musician or an actor historically finds fame in their twenties or thirties, the career of a painter can take a lifetime or more to mature. For an artist like Mike, who is so undeniably gifted and prolific in his craft, I mention that we’re potentially sitting amongst Australian art history, a treasure trove waiting to be discovered.

“I call it the long apprenticeship,” he laughs. “Sure, we do our work because we want to leave a mark on society. But also, this is just what I do when I get up in the morning.”

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Mom

ent in the Sun

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Mom

ent in the Sun

We believe that the same principles of living apply at home and in the office. Both are places to engage. Quietly, collaboratively, comfortably and confidently. Surrounded by good things, made with good materials by good people.

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The Studio

Pictured (L-R)

Franklin Modular Sofa Bonney Side Table Ichendorf Milano Glassware Joy Ottoman Kane Alexander Artwork Flo Coffee Table Jean Armchair Seb Bar Stool Popsycle Rug

Left Mina Studio Chair Flo Meeting Table Ichendorf Milano Glassware

Below Flo Cable Management System LRNCE Tumbler

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The Studio

Pictured (L-R)

Mina Executive Chair Flo Meeting Table Ichendorf Milano Glassware

Left Essie Armchair Franklin Sofa Bonney Coffee Table Ichendorf Milano Glassware

Below Mina Executive Chair Flo Meeting Table

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The Studio

Pictured (L-R)

Joy Armchair Bonney Side Table Preston Bookshelf Flo Coffee Table Milo Modular Sofa Pom Pom Vintage Rug

Pictured (L-R)

Edie Bookshelf Mina Executive Chair Ida Table LRNCE Mug Franklin Sofa Preston Sideboard Bonney Coffee Table Ichendorf Milano Glassware Essie Armchair Carpet Sign Rug

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The Studio

Left Flo Cable Management Mina Meeting Chair Ichendorf Milano Glassware

Below Edie Bookshelf Loop Rug Mina Meeting Chair Flo Table Rain Coat Stand

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The Studio

The Sydney artist’s paintings are a dance with the canvas, taking us down deeper, to places we all feel but so often block out.

Standing beside a Leah Fraser painting reminds me of the occasional warm night in summer when the weather is warm and the wind is still and for a brief moment, the natural world drowns out your loud thoughts and reaches out to you, pulsating and moving and alive. Leah’s work captures these moments of heightened sensitivity and holds a long pause on them. It’s why, when stood in front of one of her pieces, the bohemian subjects and the worlds they inhabit resonate on a level that you can’t really intellectualise. They make you feel, rather than speak.

“I like that they remind you of still nights,” says Leah Fraser with a lovely, polite laugh. She’s at home in the studio in Bronte, where she lives with her partner and young daughter. “I like each painting to be a moment in a story that is heightened or pivotal. I let the characters dictate their surrounds, almost always starting with the figure and working outwards.”

When asked, Leah can’t tell you what her work is about. Only that a painting is her way of processing thoughts and feelings. Of dealing with things. Of transferring one thing into another. Evidence of her intuitive approach is particu-larly evident in the names they take on: Inside you the time moves. Release the fire out of me. Their touch felt like the birth and death of a thousand tiny universe. All speak to a spiritual fabric that we all – at times – feel inside of us, when it’s not drowned out by noise and thoughts and technology. Ironically, these emotional and impulsive states are best explored through art, dancing, and music. Which is precisely

Heightened Sensitivity Leah Fraser

how Leah approaches her practice. “I do a lot of dancing in the studio. Every painting is physical – like a dance with the piece, stepping away and getting close, moving around it. I often find myself standing on a chair in a weird corner of the studio with my head at an off angle, squinting, almost trying to look and not look, so that you can see what needs to be there.”

Leah began her craft at New South Wales College of Fine Art as a university student, when at 23 she was asked to exhibit at a local artist run space. Mortified, she accepted. Soon after she took up with Arthouse Gallery in Sydney, who still represent her today, as well as artists like Joshua Yeldham, Robyn Sweaney, and Deborah Halpern. “They’ve been very good for me, we work well together,” she says.

Over a decade, Leah hasn’t been seduced by prevailing trends. Her method creates work that she finds challenging and strange, which means she’s built on her own style rather than making any reactive stylistic shifts.

On the eve of the launch her show last year, she was worried that her approach had gone too far. Within You Without You explored a whole new range of themes and established Leah for the style she’s known for around Aus-tralian today. It featured beasts of the underworld; snakes and goddesses, mythical creatures and hands grabbing at women’s bodies. “I was scared releasing some of those works. I thought, I’ve really cut loose here, this is some weird shit,” she laughs. “You work for a long time on things and when it all comes out you don’t know how it’s going to be received.”

Leah Fraser’s working on a collaboration with Jardan, which will feature a collection of exclusive patterns used in a range of cushions, throws, and pillows.

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Heightened Sensitivity

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Heightened Sensitivity

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Heightened Sensitivity

Design is alive and well in Australia. Our cities are forever transient and changing and bursting with new artists, designers and ideas. Throughout Australia, Jardan stores are designed to add life and character to our most iconic streetscapes – set alongside our great restaurants, galleries, and places of work.

Photography by Sean Fennessy

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Sydney Store

Pictured (L-R)

Brooklyn Dining Chair River Dining Table Memphis Coffee Table Mae Pendant Harper Armchair Stanley Stool Nook Sofa Lewis Sofa Pom Pom Vintage Rug

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Sydney Store

Left Bay Dining Chair Huxley Dining Table Arturo Álvarez Pendant Pom Pom Vintage Rug

Below Kiyo Desk Navy Dining Chair Archie Armchair Noah Bedside Table Hector Table Lamp Finley Bed Stonewash Bedding

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Sydney Store

PicturedJardan Sydney’s iconic central staircase

Left Seb Bar Stool Harvest Armchair Merino Throw Phoenix Butler Side Table

Below Harper Armchair Ace Side Table Vista Sofa Cove Coffee Table Hector Floor Lamp Alby Ottoman Finch Sideboard Tulu Rug

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Sydney Store

One morning in the Collingwood store of Hattie Molloy, as visitors filter in and out, we discovered a kind of floristry that we never knew existed. As the morning went on, we realised that this kind of floristry will forever be contained in the mind of Hattie Molloy.

One Saturday morning last Winter, Hattie Molloy and her boyfriend Ben dumped three cubic metres of soil onto the floor of her shopfront on Smith Street in Collingwood. It’s a small space. Natural light streams in through the street-side window and bounces off the white walls. White plinths, the kind you might see in an art gallery, lay horizontally on the ground, carrying flowers in exotic vases. The front door is stickered with the jagged, gold letters of her brand mark: Hattie Molloy. But on that morning last winter the space was empty and freshly painted white as they moved the enormous pile, barrow by barrow, into position, just as Hattie had imagined. Hattie’s role was strictly advisory. Ben was doing the heavy lifting.

“Mountains,’ I told him, ‘I want mountains! Big rolling Hills!’” laughs Hattie Molloy, pointing to the space where the hill once was with a flourish of the right arm. She has straight black hair and big hoop earrings and she’s wearing all white. She’s been at the market since 3am. You wouldn’t know she’s tired because she’s bubbly and excitable and nice to be around. “It was just so simple. All I wanted to do was plant some seeds and see what would grow. And then all of a sudden everyone was poking their heads in and asking what the hell I was doing.”

In Bloom Hattie Molloy

Over the days that followed the mountains – which looked like rolling dunes or waves colliding against a white studio wall – sprouted bright green clovers. From one of the hills a plinth poked out from the surface like a fist grabbing at air, holding an orange pumpkin and a bunch of green bananas with a red stem. The whole thing looked bizarre and otherworldly and completely idiosyn­cratic. The installation grew momentum over the weeks. All throughout the day people were popping their heads in to take pictures of the mountains with their beautiful sense of intensity and perfectly odd balance between prettiness and ugliness. Like all of Hattie’s work, it’s not the kind of piece you can sit down and map out: it was just an idea that she had. And just as quickly as it came Ben was back to take it away.

“Let’s sit down in the front where it’s a bit nicer and talk. You can have the fancy chair,” says Hattie. It’s one of the first days of Spring in Melbourne and the sun is streaming into the store. She’s ducking in and out of her van out front – which is packed full of fresh flowers from the market – to make up some flowers for a man who walked in off the street ten minutes ago. She doesn’t really do walk­ins, but said she was happy to put something together. “I just like pairing weird things together,” she says, taking two dark red Anthurium flowers and pairing them with a mini pineapple. It’s a strange combination. “I try to draw focus on the part of something that is beautiful and special. I don’t like flower vomit. I think flowers are enough by themselves,” she says, laying them on a sheet of white paper.

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In Bloom

“I enjoy ugly flowers as much as I enjoy pretty ones. And I think I know how to manipulate flowers – how to use them in a new context.”

Scattered around the back room of the studio space, you see evidence of all of Hattie’s weird and wonderful experiments. A single bright purple bulb poking up from a Kenzan. Bunches of Wisteria – which Hattie picked beside the train tracks this morning – waving their arms around. A carnivorous plant with test tubes for flowers, waiting for an unsuspecting fly. 100 Orchids laid out like a purple rug. It’s obvious that she’s gifted.

It’s creations like these that have sparked an ever increasing interest in Hattie and her way of seeing the world. A few years ago, she was a 22 year old working a 9–5 in corporate HR. On a whim, she dumped her job and decided to follow her life long passion for flowers, enrolling in a floristry TAFE course. She found the structure of floristry restrictive, but learned the fundamentals and decided to go out on her own immediately. Fast forward to 2018 and Hattie was a hit at Flowering Now, a show held by a collection of Melbourne’s leading florists in the Collingwood Arts Precinct.

Her Instagram following grows every week, thanks to demand from creative directors, magazines and publications

and event organisers who want to feature her work. Just yesterday she was written up in Vice Australia. Today she’s putting together flowers for a Jardan photoshoot. On the weekend she’s doing the flowers for an Australia wide event by a credit card brand.

At weddings and events she tries to stick to brief, but often feels inclined to wing it based on what is at the market that morning. Often, she says, an event organiser wants 90 bunches of Hydrangea, “When they just don’t exist right now.” Instead of following orders, she trusts her instincts and let’s her creativity guide her to places where people who plan too rigidly can never go.

As to how we met Hattie, she visits the Jardan Richmond showroom every week with a fresh assortment of flowers. She says that Tuesday afternoons are both a time to expe­riment with new ideas on the commercial run and a great time to catch up with her mother, who comes along. “She’s a very stylish woman, a hugely positive influence.” Together, they drop off flowers to “designer stores and posh butchers.” “The corporate run is such a great way to educate customers and try new things.”

It’s also a driver of new ideas, she says. “I’ll be out driving and then I’ll just see the potential in something.”

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In Bloom

Our homes aren’t just defined by the furniture in the living room or the colour on the walls. They come together over years, and grow in character with all the little things we add along the way. At Jardan, along with key furniture pieces that make a home special, we’ve sourced and collected homewares from artisan makers and craftspeople around the world.

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The Art House

Left Preston Sideboard Paperclay Sculptures Stanford Dining Chair Arte Dining Table Reflections Copenhagen Tray Zafferano Tumblers Mist Vase

Below Preston Bookshelf

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The Art House

Pictured (L-R)

Mae Floor Lamp Popsycle Rug Joy Armchair Memphis Coffee Table Kane Alexander Artwork Zafferano Tumblers Mist Vase Haos Table Lamp Paperclay Sculptures Valley Sofa Slowdown Studio Throw Arte Side Table Moba Ink Tumbler

Pictured (L-R)

Preston Sideboard Haos Table Lamp Mist Vase

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The Art House

LeftLionel Dining Chair

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The Art House

Pictured (L-R)

Harvest Armchair Merino Throw Popsycle Rug Andy Modular Sofa Elk Cushion Esther Olsson Cushion Sidney Raw Coffee Table Wrap Glass Knot Mae Pendant

Below Mae Floor Lamp Popsycle Rug Joy Armchair Memphis Coffee Table

Right Mist Vase Haos Table Lamp Paperclay Sculptures

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The Art House

Pictured (L-R)

Sunny Bed Airo Bedding Reflections Copenhagen Mirror Arte Side Table

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The Art House

Pictured (L-R)

Mae Floor Lamp Joy Armchair Valley Modular Sofa Loop Rug Bobby Blanket Arte Coffee Table Zafferano Tumblers + Carafe Reflections Copenhagen Glassware + Mirror Paperclay Sculptures

Left Loop Rug Stanford Dining Chair Arte Dining Table Paperclay Sculptures

Below Memphis Coffee Table Wrap Glass Knot Popsycle Rug

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The Art House

Pictured (L-R)

Bam Bam Rug Mae Table Lamp Valley Sofa Esther Olsson Cushion Arte Terrazzo Coffee Table Mae Floor Lamp Joy Armchair

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The Art House

In 2007, when colonies around the world began dying at alarming rates, Bees became the centre of a global debate about big agriculture and its effect on the environment. In response to one of the biggest environmental challenges of our age, grass roots campaigners like Simon Mulvany began to champion the plight of our most important pollinator.

During the North American winter of 2007, environmental agencies began to receive distressing calls from beekeepers throughout the continent. By the end of the winter, almost 30% of the bee colonies in North American had been des­erted by their worker bees and left to die. Bees were flying the hive to do their respective tasks, getting disoriented on the way and failing to return. By the start of the Spring, a similar phenomenon was being reported by beekeepers in Europe, who weren’t only worried about a greatly reduced yield in honey, but the catastrophic effect that a reduced bee population would have on agricultural industries. The phenomenon was coined Colony Collapse Disorder, and almost immediately it became a problem of grave international concern. In Australia, by way of demonstration, 65% of agricultural produce is pollinated by bees, who fly from flower to flower collecting nectar and spreading pollen between flowers. Without their pollination, Australian families wouldn’t be able to buy almonds, apples, apricots, avocados, cherries, carrots, broccoli, or onions. Today, by some miracle of distance, Australia is the only continent

Bee the Cure Simon Mulvany

in the world to escape the effects of Verroa Mite, which, together with agricultural chemicals, is said to be the reason for Colony Collapse Disorder, and our honey is the last honey in the world made chemical free.

By the time 2008 rolled around honey bees had become the focus of a remarkable grass-roots global movement. Beekeepers from around the world began spreading info-rmation about bees and their important role in our eco-systems. In the decade since, Colony Collapse Disorder has been a catalyst for a growing public interest into the effect that pesticides, fungicides and herbicides used by mass farming and agriculture are having on global bee populations. Organisations like Melbourne’s Rooftop Honey sprang up, setting up bee colonies away from our agricultural land (where CCD was said to be most prevalent) on rooftops in homes and businesses and restaurants in major cities.

In Australia’s major cities, renowned restaurants, including Ben Shewry’s Attica, started their own hives in nearby parks or on rooftops, which gave them their own unique blends of honey to use on the menu. And Simon Mulvany, founder of Save the Bees, began to take the plight of bees to the Australian public by educating children in schools around the country, fighting the importation of honey from abroad, and steering the vision for a new grass roots industry that put the making and selling of honey in Australia back into the hands of local producers.

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Bee the Cure

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Bee the Cure

“The solution is so beautiful.You support local beekeepers.You buy your honey directfrom locals.”

“I’d have parents calling me and telling me that their children were telling people not to buy certain brands of honey in supermarkets. This is seven and eight year old kids who think they can change the world,” says Simon Mulvany, walking between 8 or 10 bee hives in the backyard of his home in Rye, on the southern tip of the Mornington Peninsula in Victoria. “I told kids that instead of having one corporation with a million hives, we need to have a million people with one hive each, all treating bees with honour and respect.”

Beginning on the Mornington Peninsula, Simon started talking in schools to educate the younger generation, and using his weekends to save swarms of bees who were dis­placed. He’d go to the homes of local residents and remove swarms for free and then set up new hives in his backyard. As the years went on Save the Bees evolved dramatically, especially online. Simon’s deep love for bees is highly con­tagious, and today, it’s become a national movement.

“I can’t tell you how beautiful my life has been for the last five years,” says Simon. “In many ways I’ve become the platform for people to tell me what they don’t like or what they are unhappy with, then I’ll inform the community. Then our local producers can do well, we can unite. The solution is so beautiful. You support local beekeepers. You buy your honey direct from locals,” he says.

As the movement picks up momentum, there’s a swathe of producers who are going out on their own. In order to create demand for the honey products of ethical producers, he’s created a Honey Map on the Save the Bees website, which connects producers with local buyers for free. “It’s been used 600,000 times, and I’ve got hundreds of beekeepers who sell direct to consumers now,” he says walking over to one of the hives in the backyard. “Bees should be treated with honour and respect. I think they are sacred.”

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Bee the Cure

We’re expressing contemporary Australian ideas through quality materials. Reducing our footprint by making furniture that truly lasts. Striving for quality and sustainability at scale. And complimenting the handcrafted elements of our pieces with the efficiency of modern machinery.

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Made for Life

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Made for Life

At Jardan Lab, we bring our designers and makers together under one roof, to conceptualise, design, and test all of our new ranges. Along with being a space to form ideas and gather inspiration – the Lab searches for balance between competing forces: form with function, tradition with contemporary ideas, craft with technology.

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Made for Life

Australians really do live the good life. We’re the custodians of a wonderful, unique continent. People all over the world admire our laid back, sophisticated way of living; our holidays and our fearless connection with nature and the outdoors. Our summer road trips to go surfing in the little beachside towns up and down the coast. Our cities, constantly evolving with new and progressive ideas.

At Jardan, we’ve been expressing our vision for contemporary Australian living since 1987, when we started designing and making furniture at our home in Mount Waverley, Melbourne. Today, while we’ve grown to include large scale commercial projects and retail stores around the country, all of our products are made with the same principles.

Not only because we still employ many of the people who started with us on day one, but because we still believe in the same values: good furniture is made for life, bringing together quality and sustainability. It should make Australian living even more enjoyable. And it should challenge what is possible in Australian design and manufacturing.

Our full catalogue of products go through an ever evolving design and manufacturing process in Mount Waverley, Melbourne. Designed and tested in our Research and Development space, Jardan Lab, and then made by combining hand-crafted elements with cutting edge machinery in the factory alongside.

Product Glossary

Sofas

ValleyP. 80, 100, 101

Sunny

AndyP. 62

WilfredP. 8, 9

VistaP. 73

Archie Rufus

Cleo

Franklin High-BackP. 40

Uki

NookP. 66

LewisP. 66

Horizon

Van

Bosko

Errol

Kelly

Hudson

Valley CurvedP. 85

Harper

FranklinP. 10, 18, 48, 53

Jarvis Kelly High-Back

Camper

Alfred

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Product Glossary

Sofa Modulars

ValleyP. 3, 6 20, 21, 22, 96, 97

SunnyP. 12, 13

AndyP. 90, 91

Nook

FranklinP. 42, 43

Vista

MiloP. 50

Bosko

Sky

Errol

Scout

Hudson

Nook Angular

Empire

Horizon

Beds and Sofa Beds

Bole

Nook SunnyP. 94, 95

Andy FinleyP. 69

Lewis

AlbyP. 73

Albert

JoyP. 10, 17, 40, 42

Ottomans

Joy PillP. 13

Kelly

Coast

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Product Glossary

JoyP. 6, 18, 20, 50, 81, 84, 92, 96, 97, 101

Dune

HarvestP. 72, 90

Wilfred

Armchairs

Kelly

Andy

Pearl

Uki

Jarvis

Camper

Arana

Kano

SweeneySeb

Cleo

Iko Iko Winston

ArchieP. 69

EssieP. 13, 48, 53, 115

JeanP. 3, 14, 21, 41, 43

Van

Kelly High Back MiloLewis

Nook Rufus

HarperP. 66, 73

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Product Glossary

Tables

ArteP. 6, 20, 21, 22, 26, 27, 82, 96, 97, 98

HuxleyP. 68

RiverP. 66

Navy

FloP. 24, 44, 45, 47, 49, 54, 55, 115

IdaP. 52

Quincy

Winter

Otto

Flynn

Iko

Tilda

Kiyo

Hunter

Japhy

Chairs

StanfordP. 82, 98

Maggie

Mina Mina StudioP. 44, 45

Mina ExecutiveP. 3, 11, 16, 24, 46, 46, 49, 52

Mina MeetingP. 26, 27, 54, 55

MckenzieP. 19

SebMina Studio

Sunday

BrooklynP. 56, 60, 61, 66

Barri

NavyP. 69

BayP. 68

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Product Glossary

BandyP. 3

FloP. 10, 42, 43, 50, 51

ArteP. 8, 81, 85, 95

Phoenix ButlerP. 72

Iko

Quincy

Flynn

BonneyP. 6, 10, 12, 18, 20, 42, 48, 50, 53, 115

OlbaArte TerrazzoP. 100, 101, 118

MemphisP. 66, 84, 85, 92, 99

ArthurP. 80

Sidney

Bailey

Memphis Timber

Tuck

Nash

Phoenix

Ellis

Fred

Sidney RawP. 3, 91

Indie

AceP. 21, 73

Low Tables

CoveP. 13, 73

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Product Glossary

Storage

PrestonP. 27, 53, 82, 86, 87

Preston BookshelfP. 50, 83

FinchP. 23, 73

North

Clementine Bedside

RainP. 55

Noah

Clementine

EdieP. 52, 55

Ash

Kiyo DeskP. 69

Noah BedsideP. 69

Tuck Bedside

Harrison

Iluka

Outdoor

Roger

Mac

Riley RoundRiley

Bo Lionel

Lionel DiningP. 88

Yogi Yogi BenchStanleyP. 65

Fred Outdoor

Mac Armchair

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Product Glossary

Floor Lamps

HectorP. 73

Hector Angle MaeP. 81, 84, 92, 96, 101

Berber

MaeP. 66, 118

Emery

Piper

Sol

MaeP. 91

Sid

Sid

Hector SolMaeP. 80, 100

Sol

Pendants

Table Lamps

Brooklyn

SebP. 43, 72, 115

Lionel

Maggie

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Perth488 Stirling Highway

Peppermint Grove WA 6011 +61 423 790 773

Melbourne522 Church Street

Richmond VIC 3121 +61 3 8581 4988

Sydney42 Oxford Street

Paddington NSW 2021 +61 2 9663 4500

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Design + Manufacturing HQ66 Ricketts Road

Mount Waverley VIC 3149 +61 9548 8866

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