Category: Designer’s Eye

Another brand we’re so pleased to welcome into our collection this season is Scandinavia’s oldest producer of wicker + rattan furniture, Sika Design. Sika Møbler (meaning furniture in Danish) was founded by Ankjær Andreasen in 1942, and is now run by the family’s third generation, Louise Andreasen today.

Sika furniture is still handcrafted with the same tradition of quality and comfort as when it began 70 years ago.

We love the versatility of Sika’s designs not only for their modern + timeless aesthetic, but for the quality and durability of their materials that make their products virtually maintenance free. Since the beginning, the Far East has been essential to the production of Sika furniture, and today the company manufactures their products in their own Indonesian factory.

Rattan is the primary material used in their designs and is natural as well as sustainable. The exterior weave of their rattan is made of dyed and hardwearing polythylene, make it able to withstand demanding weather conditions.

Woven on top of aluminum, the structure of fibers provides great comfort and flexibility, and another bonus feature is most of their seating is stackable too making it easy to store. (Shop the Havana Sofa + Outdoor Pillows)

Rattan exists naturally in the rainforests of Indonesia, and has been known to grow up to 100 meters long. It grows without disturbing the existing balance and structure of the rainforest and is strong, lightweight and very durable. (above: Portrait of one of Sika’s early designers, Franco Albini).

 

Designed in 1951, the  Franco Albini Rattan Ottoman is named after its creator, an Italian neo-rationalist architect + designer, who was renowned for merging wooden minimalistic furniture design with more traditional Italian craftsmanship. (Shop the Franco Albini Rattan Ottoman)

Teak wood is another key material that Sika incorporates into their designs. Sika uses reclaimed Teak, salvaged from old houses, fishermen’s boats or railroad supports. After a few weeks of outdoor use, the teak will develop of silvery grey patina. (Shop the Trestle Table)

With a profile reminiscent of 1930s Parisian café culture, these handcrafted and stackable chairs are as comfortable as they are strong in style and construction. When woven, this material provides flexible comfort and strong structure, along with temperature and UV resistance that renders the chairs ideal for outdoor use in many climates. (Shop The Boulevard Collection)

One part standout style, one part cuddle-up cozy, the Canopy Rattan Hanging Chair brings a wonderful, 50-year-old design back into production. As if the inviting profile weren’t reason enough to bring this piece home, consider the incredible benefits of the material: rattan is sustainable, lightweight, durable, suitable for outdoor use, and relatively flexible, making it the perfect choice for a chair that can hang out anywhere. (Shop the Canopy Rattan Hanging Chair)

Check out more furniture from Sika here.

 

We recently caught up with brother and sister duo Phil and Katlyn Mast, owners of Hedge House Furniture, and makers of our new bed frames to talk about their process, midwestern craftsmanship + how they make it all work.

You both started in different industries — Phil in TV and you, Katlyn in Health. Why make the leap to sustainable furniture?

Phil: I’ve always had an interest in anything design related. I went to school for graphic design. In 2009 I moved from Austin, TX to Goshen, IN and realized the potential for a furniture business. This area is known for RV manufacturing but it’s also somewhat surprisingly recognized as a hub for high end furniture manufacturing.

Katlyn: After I graduated from college, furniture sales were beginning to pick up for Phil. It was just reaching the point where he needed help managing production and logistics. It was really exciting seeing what he had started begin to grow, and I knew it was something I wanted to be a part of.

What is it about Midwest craftsmanship that you admire?

Phil: People tend to associate the Midwest with hard work, and a culture that produces high quality goods. We’ve found that to be the case. We’re lucky to work with such skilled craftsmen who are passionate about what they do. This area naturally lends itself to manufacturing – from having more affordable spaces, to craftsmen experienced in the context of an industrial environment. This has allowed supporting fields like woodworking, welding, and upholstery to thrive.

It took several years, but we were eventually able to find a few woodworking shops that were small enough to take on custom designs, and big enough to handle volume if needed.

You use traditional materials to make designs that are very modern — what does “modern” design mean to you and what do you consider the tenants of good modern design to be?

Phil: I lean toward minimalism, but also design pieces to fit a variety of styles. Modern design is a large umbrella. I’m drawn toward proportions and shapes that are straight forward, clean, as well as dramatic, sculptural lines that make a statement. When working on a new piece, there are several design evolutions. To fit our aesthetic, I start with an idea and subtract everything that isn’t necessary.

What’s a typical day like for you?

Phil: I start my day by referencing a list that’s compiled from previous days and the night before. Being a small business, it’s easy to get overwhelmed with everything that needs to be done. I’m either in the studio at a desk, or in the wood shop with builders reviewing orders and prototyping new designs.

Katlyn: I head to our studio downtown Goshen. Mornings start with emails and reviewing what’s happening throughout the day. I make sure everyone on our team has what they need before digging into my list. Phil and I both cover a wide range of responsibilities so the day never feels long. I might be meeting with our next door neighbor about website revisions, working with our project manager, or talking to photographers and home interior companies that we’re partnering with.

How involved are you in the production process?

Phil: It depends on the project. Production for existing designs is streamlined and I’ll pop in only to see what’s happening and look at the furniture being made. When we’re customizing designs or designing new, I start with drawings, and then work on components of the piece with the builder and see it throughout the construction process.

Katlyn: We work with such a large number of shops that specialize in different areas. We have woodworkers and metal shops as far out as Chicago. Depending on the piece, there can be up to five or six shops building components for one piece of furniture.

You have returned from Chicago to the area where you were brought up. What spurred the move, and what do you love about your Indiana lifestyle?

Phil: There’s definitely a different pace to living here. It’s an influencing factor in our business that we both appreciate and struggle with. I love Chicago and the inspiration I get from the of the city. Since moving to Goshen, I’ve found that it’s easier for me to make connections that further the business and work with experts who we can collaborate with.

Katlyn: In Goshen, there’s more freedom and space to focus on what’s important for Hedge House. It’s easier for us to work and not feel pulled in other directions, but traveling frequently is a must! We both need variety and new places to be motivated and inspired.

What is your picture of the ideal modern bedroom — Hedge House bed frame, of course. But what are the objects, colors, vibe that surrounds it?

Phil: I love seeing spaces where modern furniture blends in with older buildings. Whether it’s a Victorian house, or a converted industrial space with exposed brick and tall windows. Anything with high ceilings, wide trim, tons of character, and a lived in aesthetic.

Thanks Phil + Katlyn! Check out our full selection of Hedge House Bed Frames here.

 

In honor of  Earth Day, we recently collaborated with Jamie Tubbs, founder of Chicago-based Prophet Gypsy Robot known for her love of repurposing + reusing materials, to create some limited edition Unison x PGR Woven Wall Hangings using our scrap fabric. We caught up with Jamie and asked her about background, process + what’s next for PGR.  Proceeds from sales will benefit Chicago Artists Coalition, check our her wall hangings here.

1. What’s your background with textiles and how did you begin Prophet Gypsy Robot?

My mom was a seamstress when I was little and we always had tons of fabric and scraps around. She never bought something she could make, and she rarely couldn’t make something. But the cost of clothing production dropped so much and apparel got so much cheaper to buy than make. She switched careers but never stopped teaching us to make things. Homemade household goods have stayed more comparable to store prices, and when I got my first apartment I got into making things like pillow covers and curtains. 

2. Where does the name Prophet Gypsy Robot come from?

It’s about my design aesthetic. The Gypsy part refers to color, texture, pattern, maximalism, baubles, beads, fluff and all the things. The Robot part refers to restrained color palettes, clean lines, minimalism, simplicity, deconstructed weaving like the technique “weft over” which shows up a lot in my work and I just learned is an actual legitimate thing weavers do.

These two aesthetics are always competing for first place in my heart and they seem directly opposed. So my work explores trying to visually communicate both of those at once. The Gypsy and Robot overlap most naturally when it comes to the shared value of repurposing.  

The Prophet part incorporates another huge part of who I am, someone who likes to declare good things through a megaphone about people and where we are all going together. So, PGR is this little robot like Wall-E who goes around with a flower crown, saving and reusing all the things, preaching a message about how valuable and capable and seen you are, and that when we do our best together we bring life from death. 

3. What made you start working with repurposed materials specifically?

Reflex. I’ve been thinking about how lower economic classes have an incredible skill for reuse and repurposing that we can leverage and create new streams of income and value that the future needs from us. Something that is just natural to anyone who grew up with less resources will be an important skill going forward because we need to find creative ways to use our resources in a more sustainable way again.

For the past little bit of history, wealth has meant being able to just throw stuff away and not think about it. The rich of the future will be people who find great value in using our resources in the most sustainable ways possible. That will be a huge part of what makes something beautiful and valuable. Hopefully that happens before we have no choice, which is why I want to show that we can elevate stuff that’s been thrown aside to something that people find truly valuable. 

4. How did you choose the particular Unison scrap fabrics for each weaving? Did the prints determine your weaving patterns?

When I was looking through all the Unison remnants I was like, “I can’t believe this is my life right now”. That’s my version of living the dream- alone with piles and piles of scrap fabrics ready to be turned into something! I had about 10 directions I wanted to go but the color pallet I stuck with was for the season and what I’m into right now- oranges and pinks and tone-on-tone and florals. I wanted the weaving pattern to be really simple and for the pieces to be about showcasing the colors of the fabrics, so I did one clean, angled line. They look awesome hanging together with all those simple clean angles. 

5. What other upcoming projects are you working on?

Too many, which is awesome! I’ve got the One of a Kind Show at the end of this month and after that I’m working with friend and fellow maker Joslyn Villalpando ( of J.Villa Workshops) on a project at her school about repurposing (so excited to make stuff with kids!). I’m going to be offering workshops on the West Side at a store called Creativita once I work out all the details.

I’m most excited about starting on a series I have in my head using all sorts of working class uniforms, and incorporating techniques from the global working class like boro stitching. “Boro” means “tattered rags” and the technique was created by wives of fishermen who mended their work clothes in such a beautiful way that now it’s a world wide fashion element. 

Thanks Jamie! Shop the Unison x PGR Woven Wall Hangings here.