Podcasts about design fair

Reigning champion of the Channel 4 Show ‘The Great Pottery Throw Down', told Brendan about winning the show and how she'll showcase some of her ceramics at the RDS for the Gifted Contemporary Craft and Design Fair which returns on Wednesday through to Sunday.

I'm Josh Cooperman and this is Convo By Design with another preview episode as we get ready for the WestEdge Design Fair in Santa Monica, California. We'll be back at the Barker Hanger for another installment of the show. That means another stage featuring 2 full days of talks and and thought provoking conversations. Thought provoking, yeah we've got that. And if you'd like to attend, here's a link for tickets: https://www.grsreg.com/westedge24/exhPass?exh=cxd Designer Resources Pacific Sales Kitchen and Home. Where excellence meets expertise. Monogram - It's the details that define Monogram ThermaSol - Redefining the modern shower experience. Without steam, it's just a bathroom. Design Hardware - A stunning and vast collection of jewelry for the home!  - Where service meets excellence TimberTech - Real wood beauty without the upkeep Every year around April or May, I sit down and put pen to paper. I will write out dozens of program ideas from some of the most intriguing concepts that come from the podcast and sketch out what a more detailed conversation might look like. The episode you are about to hear is what inspired the Iconic Architecture program live from WestEdge and what ideas might be explored. This program is jam packed with heavy hitters in design and architecture covering a big concept. What makes architecture iconic and worth saving? The panel will include; Jaime Rummerfield, Christopher Goddard, Anthony Laney, Paul McClean and William Hefner. I am incredibly excited to sit and watch moderator, Alison Martino of Vintage LA navigate these treacherous waters. Everyone has an opinion, right? Where did this idea come from? Back in June of 2022, you heard an episode about 1001 North Roxbury, an extraordinary home in Beverly Hills. A home that was in remarkable condition, exceptionally designed and on a list of homes to be saved in Beverly Hills. It's gone now. And you are going to hear how it happened.  Water under the bridge. But without understanding how this happened, what's to keep it from happening again? This panel will be touching all points related at this years show and since I know you don't want to miss it, make sure you come. There is a link in the show notes for tickets to WestEdge 2024. Now you can brush up on the topic a little bit with this journey back to Beverly Hills in 2022. And you'll hear it all, right after this. There you go. All the intrigue you could ever ask for! The origin for the Iconic Architecture panel at WestEdge Design Fair, November 14th-16th at the Barker Hangar is Santa Monica. Make sure you join us.  Thank you to my incredible partner sponsors; ThermaSol, Design Hardware, Pacific Sales, Monogram and TimberTech. These are all fantastic partners with exceptional products and service to match. I have vetted these companies and I believe in them, and I think you should too. Check the show notes for direct links. Thank you for checking them out and specifying them on your next project. I also want to thank you for listening to the show and sharing Convo By Design with your friends, coworkers and colleagues who you think might enjoy it as well. Please also keep the guest and show suggestions coming; convo by design at outlook dot com and on Instagram @convoxdesign, with an “x”. Until next week, be well and take today first. -CXD

In this episode, host Doug Shapiro sits down with Claire Pijoulat and Odile Hainaut, the dynamic duo behind ICFF and the founders of WantedDesign. From their chance meeting in 2010 to becoming Brand Directors, they share their journey of transforming the International Contemporary Furniture Fair into a vibrant hub for design and community. Discover how they've redefined ICFF by integrating culture with commerce, fostering meaningful connections, and turning the fair into a year-round platform for innovation. Are you in NYC and want to check out ICFF? Imagine a Place invites you to be our guest! Click here for a complimentary pass. Follow Doug on LinkedIn.Click here to get your copy of Doug's children's book—Design Your World.Follow Imagine a Place on LinkedIn.

The Glucksman Craft + Design Fair showcases high quality Irish craft and design in the beautiful setting of the gallery's airy and spacious exhibition spaces.Mathilde Corbineau, Retail and Communication Manager at the Glucksman is here to tell us more Hosted on Acast. See acast.com/privacy for more information.

FIND – Design Fair Asia is set to return for its second edition after its successful debut in 2022, as part of Singapore Design Week. The event will be returning to the iconic Marina Bay Sands, Sands Expo & Convention Centre, Level 1, Halls A, B, and C from 21 - 23 September 2023. FIND Design Fair Asia is gearing up to welcome over 15,000 visitors, 350 international brands, and 50 distinguished speakers during the Global Summit. The gathering of industry leaders, suppliers, and creative minds will undoubtedly make it a must-attend event for professionals and enthusiasts alike. So what can we expect from this year's edition?  We find out from Carl Press, Director of FIND - Design Fair Asia and Yoko Choy, Chair of Content for FIND – Design Fair Asia.  See omnystudio.com/listener for privacy information.

What you'll learn in this episode: Why Charon cares more about quality of content than whether something is defined as art, jewelry or craft Why social pressures can make it difficult for people, especially men, to wear art jewelry, and how education can change that Why so many people choose to spend money on traditional jewelry, even if they are intrigued by an art jewelry piece Why Charon believes every artist has a uniqueness that can be developed How the relationship between artist and gallery is changing About Charon Kransen Charon Kransen established Charon Kransen Arts in New York City in 1993, in order to promote exciting jewelry from around the world in North America. The work is presented annually at various American art fairs, such as SOFA New York, SOFA Chicago, SOFA Santa Fe and Art Palm Beach and the Int. Art and Design Fair in New York and at select galleries specializing in contemporary crafts and design. As a private dealer, Charon Kransen Arts welcomes individuals, collectors and museums to the Upper West Side of Manhattan. The collection consists of jewelry, hollowware and accessories by both renowned and emerging artists, whose work may be found in museum and private collections around the world. The focus is on the artists' personal vision and on an innovative approach, characterized by the use of a wide spectrum of materials from paper to precious. The educational branch of Charon Kransen Arts includes lectures and seminars throughout the USA, Europe, Australia and South America and the distribution of books and exhibition catalogs on all aspects of jewelry, metal and design Additional Resources: Website: www.charonkransenarts.com Photos Available on TheJeweleryJourney.com Transcript: It takes a certain type of person to appreciate art jewelry, and it's even rarer for someone to wear it unabashedly. Charon Kransen proudly considers himself the latter. As the founder of Charon Kransen Arts, he is a gallerist and educator who hopes that more people embrace and express their differences through jewelry. He joined the Jewelry Journey Podcast to talk about the challenges that galleries are facing today; why people wrongly assume that traditional jewelry is a better investment; and how education can help people find the confidence to wear art jewelry. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to The JewelryJourney.com.    My guest today is Charon Kransen, and he's truly a man of the art jewelry world. He studied in several countries and speaks several languages, and he teaches and lectures about art jewelry globally. Welcome back.    I was rereading the transcript from last time, and you had described this market as being somewhat elitist. I was surprised to reread that. I think of it as more of a mass market thing because it's more affordable and you can change it more.    Charon: What I mean by elitist is, in general, you have to have a certain sophistication. You have to have educated yourself. You have to have a certain courage. You have to have a certain emotional intelligence to be able to appreciate this work and look at it not like—what do people say?—“This is different.” That's what I mean by elitist. Most people couldn't care less. In general, they want to wear something really small; you barely see it. I don't mean elitist in a pretentious way, but yes, you have to have a level of sophistication in order to appreciate it, right?   Sharon: Yes, if you want to think of elitism being that. There is only a certain segment of a population that's going to understand it or even stop to think about it for a minute.    Charon: For many years, I've done the art fairs in Florida in Palm Beach, and I was the only contemporary jewelry dealer in that fair. There was a lot of high-end jewelry and estate jewelry, and so many times I heard people walking into my booth saying, “Oh, this is so inspiring. This is so refreshing,” and then I saw them across the aisle buying something high end and very expensive because that is, in the end, where their decision lies. “Oh, this is too much fun. I'd better put my money in something that is made of precious metal,” or whatever. I've seen that happen so many times. That is what gives people the kind of certainty that they're not throwing their money away by buying something very out of the ordinary. This is generalizing, of course, but I've seen that for so many years. That's just the reality of this field.   Sharon: Do you think that it is trending toward the lighter, the more fun, the jewelry that's interchangeable, or that you can afford to have some choices?   Charon: I think it brings up the issue of listening more closely to who you are, what your mood is. If you want to use the word fun, it's how to embrace fun in your life and not try to be somebody who, from the outside, is all together and all blah, blah, whatever. Yeah, it brings a certain lightness and a certain freshness and a certain leaving your comfort zone energy.   Sharon: Has the way you've sold this jewelry, your jewelry, changed over the years? Have you emphasized the lightness of it or the affordability or anything because something changed?   Charon: There are definitely people—and I'm not just talking about since the pandemic, but even before that—who'd say, “Charon, you need to sell more traditional jewelry, more commercial jewelry, more low end,” meaning very low end. I thought about it many times, but that is not something that has my passion. That's just not the kind of work I want to present. In the end, I have to live with me; I have to be surrounded by work that I find inspiring and energetic. You've known me long enough that I have always shown work that, for a large part, is very colorful. The format of certain jewelry might be a bit traditional sometimes, but in terms of color and material and content, this is the kind of work I want to represent. It's pretty obvious.   Sharon: Can something that's made out of a material you've seen before and thought was innovative, and now you see it in a different format, can that be considered innovative, or is it only the first time?   Charon: Essentially what I think makes a work innovative has a lot to do with a certain uniqueness. When I lecture or do seminars, I talk a lot about what it is that makes a piece of jewelry so special and unique. I think that is something that has a lot to do with how you as a maker infuse your uniqueness into this piece. It could be how you infuse it by manipulating a certain material, but in a way only you can do. I really believe deep down that everybody has a uniqueness. It might be totally underdeveloped, but I do believe people have that. That, to me, is what makes a work unique and even innovative. It's a combination.    Maybe the best way to describe it is this. I get packages for artists, several every week, and you open a package and think, “O.K., Charon, in all the years you've seen it all. You're probably a bit jaded.” Then I open it and I jump, like, “Wow! I thought I had seen all of it.” In many ways, my opinion is often the thing that needs to be developed more than anything. You can call it the voice of an artist. That makes me jump, like, “I thought I'd seen it all. Wow!” It's seeing something I've never seen before, and I don't even know how to describe it. It's not about analyzing how it's made, but more of the energy that it expresses. It's interesting that after all these years, I can still have that sensation. It just is what it is.   Sharon: I'm surprised. Is there anything left that would surprise you? That's my thought.    Charon: Absolutely, yeah.   Sharon: Yes?   Charon: The mind is endless. There is no limit to the mind, and people come up with things. That's why I'm still doing what I'm doing. I'm far from retiring.    Sharon: How did you make it through Covid? Did that affect your business?   Charon: It was basically dead the first half-year, and then—you're talking to somebody who in many ways is kind of old-fashioned. I've never done social media. I've developed clientele on a very personal level. But this time, it was just horrendous. I kept thinking, “Well, no art fairs. Galleries are closed. No exhibitions, no nothing. How are these artists going to survive?” I'm part of the system that pays them money so they can live and work. So, I forced myself to start with Instagram, which was a big stretch for me because I don't really like it.    Then I approached a lot of people describing the situation, how it really is for artists. I wasn't that concerned about my own survival, but I thought about all these artists who do not have any income. How can I expect them to be motivated to sit in their studios and make work and say, “O.K., this is difficult and challenging situation. We just have to sit it out”? I felt a lot of their financial pressure, their stress. I approached so many people for help understanding the situation, and of course offering them a bigger discount so I would be able to send checks to artists. Many wonderful, loyal people responded.   I would say it's still kind of problematic because to develop new clients, you have to do the art fairs, but the art fairs are extremely expensive. You end up paying so much for the whole thing. Financially, I really question whether that is still the way to go, especially in jewelry. When you do these fairs and see artwork, sculptures and paintings that sell for $100,000, yeah, O.K. We're talking jewelry here. What is the price range? You have to sell a shitload of work in order to break even. So, I'm rethinking that whole art fair model. Everybody also says the market has changed big time. The 90s and the early 2000s, they were golden years. It's amazing what people would spend. That has changed big time. I hear it from other colleagues also, not even in our field, but in other fields, too.    Sharon: There have been a lot of changes, yes. I can see that in what people buy and how much they're willing to spend.   Charon: We're talking here about work that is worn on the body. When you just look at images, you miss the three dimensionality. You can't imagine it, really. You miss the tactile aspect, the sound aspect. We're constantly looking at two-dimensional images, and not everybody is able to translate that. I'm trained as an artist so I can do that, but most people can't. It's different than looking at an object. How is this going to be on my body? That is a big issue. If you look at commercial jewelry that's sold over the internet, it's simple; it's accessible; it's understandable; you can totally figure it out, but this kind of work is a completely different story.   Sharon: That's true.   Charon: That is where we are. We're looking at images. I send things on approval because I want people to see them and try them on. With this kind of jewelry, I think it's very difficult to sell on the internet. I really do.   Sharon: I think you're right. When I think of the images I see when I'm scrolling through Instagram, most of them are things you don't have to imagine. You know how it's going to look.   Charon: Right.   Sharon: In your mind, do you have some art fairs you think you'll still go to that are reasonably priced?   Charon: None of them are reasonably priced. I had several meetings with the director of SOFA Chicago. SOFA Chicago is not happening again this year, and they're rethinking the whole idea. We've been talking about a much smaller fair with exquisite objects. When I think of SOFA Chicago as it was at Navy Pier—   Sharon: SOFA being Sculpture, Objects, Functional Art and Design?   Charon: Yeah, it's huge. People go there to be entertained without any intention of buying anything. I think there is definitely a market for people who are interested in exquisite objects in glass, in wood, in ceramic jewelry and textiles that would attract them. I might be talking to them about developing something in that different format. I think that would totally work. Right now, I'm focusing on New York Jewelry Week. I'm going to do something I've wanted to do for a long time but never did, and I'm very excited about it.   Sharon: I hope to be there. I think that's the place if you want to experiment.   Charon: I've now had two years to focus on the Far East with five or six countries, Korea, Japan, China, Taiwan, Thailand—what am I missing? That was great because this is the aesthetic we mostly don't see.   Sharon: We don't.   Charon: It was great, but it was a lot of work for us. I showed the work of like 45 artists. Anyway, I have a theme in mind, and I think it could be great.   Sharon: I'll keep my eyes open. I'll wait for round three until after New York Jewelry Week, and I'll ask you what you've done next year post-Covid. I think everybody is changing the way they operate with Covid.   Charon: Quite frankly, I think we're all in survival mode and reinventing ourselves, and we're understanding also that somehow it has to make sense. Many years ago, I heard this term which was new to me, “I need to spend money in order to make it.” But the past three years have been horrendous, and not just for me but for so many people, I think. But I'm still here; I'm still getting excited about it.    I am involved in something that unfortunately I cannot quite talk about. Well, I can say this much: I was invited to be a judge of a major international competition. It's interesting to go through all these submissions and see where we are as a field. This is not just jewelry. There are so many artists. I remember in one of your questions you sent me, you wrote something about education, like “Who needs to be educated most?” I might get a lot of reaction to this, but I think artists need to be educated mostly.   Sharon: On what will sell?   Charon: No, most artists are incredible. They're talented in what they make, but once the work leaves the studio, there's a whole world out there that is foreign to them. I think especially during the pandemic, artists started to sell themselves individually, whether they had a relationship with a gallery or not. It is a problem. It's an issue, but what do you do as an artist when you're desperate financially and you can barely survive? It brings up a lot of new issues. I won't bore you with examples, but there are lots of examples where I feel like, “Well, maybe galleries are obsolete. Maybe the relationship between artist and gallery is changing because everybody has been going through a very difficult time.” It's going to be interesting to see how that continues, but it does bring up a lot of issues and a lot of problems.   Sharon: When that's developed more, that's something I'd like to talk with you about. It sounds very interesting. Thank you for being with us today. I look forward to the next time.    Charon: When we meet.   Sharon: It was great. Thank you for being here.   Charon: Thank you for the invitation, and like I said, to be continued. Thank you for having me.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode: Why Charon cares more about quality of content than whether something is defined as art, jewelry or craft Why social pressures can make it difficult for people, especially men, to wear art jewelry, and how education can change that Why so many people choose to spend money on traditional jewelry, even if they are intrigued by an art jewelry piece Why Charon believes every artist has a uniqueness that can be developed How the relationship between artist and gallery is changing About Charon Kransen Charon Kransen established Charon Kransen Arts in New York City in 1993, in order to promote exciting jewelry from around the world in North America. The work is presented annually at various American art fairs, such as SOFA New York, SOFA Chicago, SOFA Santa Fe and Art Palm Beach and the Int. Art and Design Fair in New York and at select galleries specializing in contemporary crafts and design. As a private dealer, Charon Kransen Arts welcomes individuals, collectors and museums to the Upper West Side of Manhattan. The collection consists of jewelry, hollowware and accessories by both renowned and emerging artists, whose work may be found in museum and private collections around the world. The focus is on the artists' personal vision and on an innovative approach, characterized by the use of a wide spectrum of materials from paper to precious. The educational branch of Charon Kransen Arts includes lectures and seminars throughout the USA, Europe, Australia and South America and the distribution of books and exhibition catalogs on all aspects of jewelry, metal and design Additional Resources: Website: www.charonkransenarts.com Photos Available on TheJeweleryJourney.com Transcript: It takes a certain type of person to appreciate art jewelry, and it's even rarer for someone to wear it unabashedly. Charon Kransen proudly considers himself the latter. As the founder of Charon Kransen Arts, he is a gallerist and educator who hopes that more people embrace and express their differences through jewelry. He joined the Jewelry Journey Podcast to talk about the challenges that galleries are facing today; why people wrongly assume that traditional jewelry is a better investment; and how education can help people find the confidence to wear art jewelry. Read the episode transcript here. Sharon: Hello, everyone. Welcome to The Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. My guest today is Charon Kransen. Even if you think you don't know him, you've probably already bumped into him. He was familiar to me years before I met him. I asked a lot of people, “Do you know Charon?” and they would show me what they had bought from him. He's truly a man of the art jewelry world. He studied in several countries and speaks several languages, and he teaches and lectures about art jewelry globally. There are few book fairs where he is not present with his books and jewelry. He talks to those making art jewelry everywhere. If you're on his mailing list, he keeps well-apprised of the new things coming out. He was one of the first guests we had on the podcast. We called that episode “Having the Confidence to Create and Wear Contemporary Jewelry.” I read that title and thought, “That says a lot.” I'm looking forward to hearing about the ups and downs of the intervening years. I know some of them have been very, very hard and some of them have been O.K. Charon, thank you for coming back for round two of the podcast. Charon: Glad to be here. Sharon: First, is there a difference between art jewelry and contemporary jewelry in your mind? Charon: I've always tried to avoid the term art jewelry. It's a very strange term. When you talk about contemporary jewelry, the definitions that people understand are so varied. People call modern jewelry contemporary jewelry or studio jewelry. As a matter of fact, I'm not really interested in what to call it. It feels like a very contrived term. Two weeks ago or so, I was invited to the preview and award ceremony of the Loewe Craft Competition, which showed the work of 30 finalists. Three of the artists I represent were included in that show. Anyway, the big winner was Eriko Inazaki from Japan. She was Japanese, totally overwhelmed when that was announced, and with the help of a translator, she had to improvise and say something. You can Google the winner. It is just an incredible piece. It's a porcelain object. But the way she talked about it was, “I don't really care how you call it, whether it's art or whether it's craft,” and I totally related to it. For many years, when people asked me those kinds of questions, like, “What is it, craft or art?” I don't think that way. All I can say is all these people have graduated from an art academy somewhere in the world. They're trained as artists, and the best way to describe how art jewelry is different from commercial jewelry, estate jewelry, fashion jewelry, you name it, is these are artists who have chosen the medium of jewelry to express what any artist wants to express in his or her medium. So, when I think about the word “art jewelry,” it is about something. It is content based. There is a story to it. I'm not talking about a literal story, but it has something to do with—I'm using my own invented words or description when I talk about art jewelry. There is something about the quality of content and learning to see that. In the 54 years I've been in this field, I've obviously seen a lot of jewelry. There is room for every option in the jewelry field, but the more I see—and there's a lot that I see—I'm just not interested. What I'm more and more interested in is, “I don't know what I'm looking at, but there is a quality of content.” It's mysterious. It's not literal, and it brings up a lot of questions. It's not about elegance, necessarily; it's not about beauty; it's maybe about a different definition of beauty, but it's very content based. You know what I'm saying? You walk past things that are beautifully made, but what is it about, and what do I get to receive from the artist's mind? Sharon: Would you say that is what attracts you to art jewelry? You're saying, “What do I see? What do I understand from the piece? I don't know what the piece is.” Charon: I would say that is what touches me. Of course, one can be touched in many different ways. When you go to the Hermitage in St. Petersburg and go to the treasure room, you see the most incredible jewelry and objects made with craftsmanship that is just amazing. I can appreciate it for that reason, but does it touch me personally? No, not really. At this point of life, all that matters to me is that I want to be engaged with it; I want it to bring up questions. That's where I am right now. Sharon: That's interesting. As you were talking, I thought that while contemporary jewelry is fashion, it's commercial, it's not the kind of thing that would attract you, I would guess. I think all of that is pretty or I might want it, but I do have questions. What does it mean, what did the artist want to say, that sort of thing. Charon: Right. What does it do to me? What does it trigger in me, and which part of whoever I am does it resonate with? I want that connection. Sharon: Do you think that's how you grow the field? By educating people, the makers and the buyers, that there is a connection? Charon: After I graduated in 1975 in Germany, I went back to Holland. This was a time where things were just starting to happen in terms of a different kind of jewelry we didn't have a name for. I'm talking about the environment. There were no galleries; there were no museums that collected jewelry; there were hardly any publications. There was nothing, really. So, you can then say, “Well, if we want to make a living at some point, we need to educate the public. We can't just put it out and say, ‘O.K., you people have to understand it and appreciate it and put money towards it.' No, this is all about education.” I'm probably more of an educator than anything else because the things I do constantly require education, because we're talking about work that is more or less foreign to most people. Most people want and wear what already exists, right? Sharon: Right. Charon: That is their comfort level; that's their comfort zone. Who am I to say that's wrong? No, it's not wrong. But in order to find the connection to this different kind of work, let's call it, it requires education and, I would almost say, emotional and psychological education. Am I going to wear something so people will look at me like, “Where are you from? What planet are you from?” because they have no reference whatsoever? Am I able to withstand that? Am I able to ignore that and say, “Hey, this is what I want to wear”? It involves a lot of things that certainly have an emotional and psychological component. Do I have enough courage? Do I need to be seen? No, I don't need to be seen, but this expresses something in a nonverbal way about who I am, and thank God there is this. Do you know what I mean? Sharon: Yes. Charon: It's essential. It still is in many ways because we're a relatively small field compared to the global, bigger jewelry fields. That's just the reality of this separate option in the bigger jewelry field. It's complicated. It's challenging. I've always known that. This is not going to be a big market. If you compare it with the market for estate jewelry, for high-end jewelry, for commercial jewelry, it's tiny. Sharon: Why did you choose it? The things I've seen you wear are different. Is it because they are expressing who you are? I've mainly seen you wear brooches at fairs and things. Charon: It expresses who I am. It expresses my mood, and that can change from one day to the other, obviously. It can feel like protection. That's how I wear jewelry. Of course, sitting here, I'm not wearing jewelry. I'm not always wearing jewelry by any means, but yes, it does speak a language I use because I want the world to know this part of me. Sharon: Do people come up to you—women especially—and say, “Gee, I wish my husband had the courage to wear a brooch or something besides cufflinks. Do you think my husband could do that?” Charon: That's an interesting question. It's not just women who talk about their husbands. It's also women who say, “You can wear it because—” fill in the blank. “You're tall. You have a long neck. You have the right personality,” etc. It's always something in comparison. When I hear something like this, I always think this is just a way to say, “I'm not really interested.” Fine, but to always put it on the other, like, “You can do it. You can wear it. You can get away with it. You, you, you, not me.” Well, why not me? Why not? And that, of course, brings up a lot of questions. I don't have issues wearing jewelry; I don't care what people say, but we live in a pretty traditional society. I have certain couple clients where the husband has slowly ventured out to wearing small lapel pins, and he's becoming a little more courageous under the constant education of the wife. But let's face it: most men do not wear it. They're afraid of color. They won't wear anything that draws attention, because God forbid what that would do. That would open up a discussion that a lot of people just don't want to have. Sharon: What do you think the difference is? Karen Rotenberg from Gallery Loupe talks about how women come in and say, “Oh, I could never wear that,” and then they leave wearing something that's contemporary or really out there or something they thought they couldn't wear. Why does that happen? Charon: In the past few months, I've had some rotator cuff problems. I'm going to PT two to three times a week, and there are two physical therapists, both men, and me being me, I comment on the fact that the colors they are wearing are so boring. It's almost as if I'm back in the 50s in Holland, in a Calvinist country where we wouldn't see colors. It was gray, beige, dark blue, black, basically. My apartment is full of color. I wear a lot of color. So, we talk about it sort of jokingly, and it's like, “Oh no, you can't do that. That is not very manly to wear color.” I've been going there now for a few months. Last week—and I kind of tease them also—one of them said, “You know what? I bought four very colored T-shirts.” That is education, but in a light way. I think there are all kinds of traditional attitudes attached to it. God knows what they are. “Men don't wear color.” Well, look in nature. I lived for a year in Lapland. If you see how the men dress in Lapland, their whole chest is full of jewelry. There are so many different cultures where men wear jewelry. Look in nature. So, what have we done to the man? Sharon: That's a good point. Most physical therapists who are male wear dark colors, whereas the women might wear peach scrubs or something like that. Charon: Why is that? Is it that you're afraid to show who you are? What is that all about? Sharon: That's a good question. People think that's male. Charon: Right. Adornment belongs to women, or whatever is in your mind. I think all these people miss out on a lot of pleasure, a lot of leaving your comfort zone. Yeah, it might be a little scary, but in the end, it's great, especially when you hear comments from people. A lot of it is fear-based, I think. What will other people think? Sharon: You must get a lot of comments on a piece of jewelry, a brooch or something. It opens the door. Charon: It does. At the opening of the Loewe preview, I wore a big brooch and saw people looking. There were very few people who actually commented on it. I think it was just too awkward for most people. Can you believe it in the New York crowd? I think it brings up a certain confusion. They see a man wearing something very colorful, a brooch or whatever. Maybe that's the confusion. They don't know how to approach it. They don't know how to respond to it, instead of saying, “Wow, that looks great. I don't know what I'm looking at, but it looks great, and it has great energy.” You know what I mean? Sharon: Yes. Like you said in the title of the last time you were on, you have to have confidence to create it and to wear this kind of jewelry. You have to be confident in yourself. There must be a piece of yourself that's confident about it. Charon: It doesn't just apply to jewelry. It applies to anything in life. How do you want to be in life? Who do you want to be? How do you want to dress? How do you want to develop friendships? It's anything. There's a lot of talk about how we can develop younger collectors. I'm generalizing of course, but the problem with younger collectors is that they haven't really grown into their own. There are a lot of things that will guide them towards Cartier or Tiffany because that's recognizable, and that tells the viewer, “I belong to a certain status; I wear Tiffany or I drive a Mercedes.” I think it comes with age that at a certain point, you look back and say, “Now, who's going to determine what I do, what I say, what I wear, what I eat? Is there somebody like me who says, ‘It makes me feel a certain way, and that is why I'm doing it this way. That's why I'm wearing it'?” There are so many phases in life where you're preoccupied with all these questions. You look at adolescents and teenagers, and thank God I'm not in that phase anymore, because it's so much about blending in and being like the group. You're talking to somebody who has, in many ways, always has been an outsider, so maybe you need to embrace that in yourself, whatever way you are different than other people. Sharon: That's interesting. I've never heard anybody talk about the issues of having collectors be younger or nurturing them. I've never heard anybody explain it that way, in that you have to grow into it in a sense. Charon: Right, it's being different or an outsider. Maybe this is way too philosophical, but I think we spend a lot of time coming to terms with that and viewing it as, “What's wrong with me?” versus saying, “I embrace the difference in me. I embrace it. I don't judge it. It's not a negative thing. On the contrary, it's inspiring, and this is how I want to live.” I think time and experience help you get to that point, and then you can start living your life and wear whatever you want. In Western Europe, we call it Calvinism. In Scandinavia, you call it Janteloven, but it all comes down to, “Don't think you're anybody special. Try to blend in as much as possible. Don't draw attention to yourself.” Well, if you want to live that way, be my guest. Sharon: That's not my image of New York, blending in, but I suppose. We will have photos posted on the website. Please head to The JewelryJourney.com to check them out.

I'm Josh Cooperman and this is Convo By Design with a panel conversation recorded live from the WestEdge Design Fair, Dallas edition. This conversation was entitled, Designing for Wellness Inside and Out | An Exploration to Stunning Holistic Design that Connects Inside and Out with Those Who Inhabit the Space. I envisioned this conversation as one that would open new avenues of thought for a southern and midwestern audience. Having spent a great deal of time recently in both the midwest and south, I can tell you that the ideas of wellness are different. We'll get to that a bit more in a minute. First, I wanted you to hear how this concept was presented. Here is how this panel was billed and whom it featured. The concept of ‘healthy design' is a constantly evolving idea as new technology comes to market and the ideas behind living healthy change. In years past, it was low off-gassing materials and VOC paints, then sleep chambers crafted for a high quality sleeping experience. As the pandemic continues to change the way we live, so has the idea that defines what it means to live a healthy lifestyle. Crafting luxury living both inside and out has become a universal goal to capture as much usable space while exploring ways to make that space perform in new ways.  Featuring Shelly Rosenberg, Philip Vanderford and Christina Garcia-Lysaught  Moderated by Brenda Houston. Simple and elegant, yet as you are going to hear, ideas about wellness change dramatically based on who you ask.  This group was cast with purpose. Each participant was hand picked for the individual superpower they possess and if you have listened to the show for a while, you have heard from each of them. Philip Vanderford of Studio Thomas James, Christina Garcia-Lysaught of Layered Dimensions and Shelly Rosenberg all bring a different perspective to this idea of what “wellness” means right now as it informs their work on behalf of their clients.  Check the links in the show notes to see their work, you'll see what I mean. To moderate this conversation is Brenda Houston. Brenda is what I call a hybrid-creative. She works in a number of verticals that range from design to retail to product design which makes her the perfect person to bring out the gems from this highly-skilled group. You are going to hear all about it, right after this. Thank you Christina, Shelly, Philip and Brenda. Fabulous job. I loved this and appreciate your taking the time to do this and sharing your expertise and insight. Thank you to CXD partners and sponsors including ThermaSol, Moya Living, Design Hardware and the WestEdge Design Fair. Thank YOU for taking the time out of your day to download, subscribe and listen to the show. I appreciate you and I hope this show helps you do that thing you do better. For more information about the show, about what we do here at Convo By Design, check the show notes for links and ways to connect. Until next week, be well and take today first. -CXD

On The Home Show this week: we'll meet some of the fabulous creatives taking part in the RDS Gifted Craft and Design Fair; SVP will discuss new data on those going without essentials; we'll chat about Repair Cafes; and travel journalist Joan Scales will tell us about the towns around the world paying you to move there.

I'm Josh Cooperman and this is Convo By Design featuring another conversation form the WestEdge Design Fair's 1st edition in Dallas, Texas from September 2022. This conversation is about Wellness in Design and features a strong panel covering ideas to consider right now for the near future and long term applications. Designer Resources ThermaSol - Redefining the modern shower experience. Episode 271 featuring Mitch Altman Article, great style is easy. It's the best way to buy beautiful modern furniture York Wallcoverings - Designed to inspire for over 125 years Franz Viegener - Finely crafted sculptural faucets Moya Living -  Beautiful, durable powder coated kitchen, bath & outdoor kitchen cabinetry The concept of ‘healthy design' is a constantly evolving idea as new technology comes to market and the ideas behind living healthy change. In years past, it was low off-gassing materials and VOC paints, then sleep chambers crafted for a high quality sleeping experience. As the pandemic continues to change the way we live, so has the idea that defines what it means to live a healthy lifestyle. Crafting luxury living both inside and out has become a universal goal to capture as much usable space while exploring ways to make that space perform in new ways. This conversation featuring Shelly Rosenberg, Philip Vanderford and Christina Garcia  Moderated by Brenda Houston. It is coming right after this. Thank you Shelly, Christina, Phillipand Brenda for guiding us through this fantastic chat. Thank you WestEdge Design Fair and to all of you who came to the show. Thank you to CXD sponsors and partners, ThermaSol, Article Furniture, York Wallcoverings, Moya Living and Franz Viegener for your continued support. Of course, thank you for downloading, subscribing and listening to the show. Thank you for the emails of support and the guest submissions. I love them and it has allowed me to find some amazing talent to showcase. Please remember why you do what you do and for whom you do it. Designers, architects, artists, product designers, showroom managers, publicists, magazine editors, publishers, set decorators and everyone else that makes our industry stronger by the day, this show is for you. That's why I do it. Thanks for listening. Be well, and take today first. |

I'm Josh Cooperman and this is Convo By Design. Today, we are going back to the WestEdge Design Fair in Dallas, Texas with designer, Chad Dorsey. I started Convo By Design in response to a complete lack of design focused content prior to 2012. When I started this show, it was to purposefully and thoughtfully transport you everywhere design was happening. That was even true until March 13, 2020. But since then, everyone with the latest smartphone provides some sort of coverage from every event known to man. My priority since day one was to bring this to you, packaged so you felt in some small way that you were actually there, experiencing it first hand. That is my commitment to you, I will keep doing that. And because of this, I have had to continually up my game because every day, there is a new podcast, digital video outlet or e-design platform producing more and more design focused content. I appreciate the challenge, it keeps me motivated. Is that weird? Designer Resources ThermaSol - Redefining the modern shower experience. Episode 271 featuring Mitch Altman Article, great style is easy. It's the best way to buy beautiful modern furniture York Wallcoverings - Designed to inspire for over 125 years Franz Viegener - Finely crafted sculptural faucets Moya Living -  Beautiful, durable powder coated kitchen, bath & outdoor kitchen cabinetry Anyhow, I started a new extension of the show called Perspectives, featuring creatives who are doing things differently. This is one such conversation from the WestEdge Design Fair's first edition in Dallas Texas in September 2022. This conversation is with interiors and product designer, Chad Dorsey.  Chad has been on the show previously, back in 2019 when we caught up with him and his Lacienega Design Quarter, Legends installation. We reminisce a bit about that. This was so much fun. For those interested in seeing some of Chad's work or the video from this conversation, check the show notes for links. Enjoy, that is coming up right after this. Thank you Chad, WestEdge Design Fair and to all of you who came to the show. Thank you to CXD sponsors and partners, ThermaSOl, Article Furniture, York Wallcoverings, Moya Living and Franz Viegener for your continued support. Of course, thank you for downloading, subscribing and listening to the show. Thank you for the emails of support and the guest submissions. I love them and it has allowed me to find some amazing talent to showcase. Please remember why you do what you do and for whom you do it. Designers, architects, artists, product designers, showroom managers, publicists, magazine editors, publishers, set decorators and everyone else that makes our industry stronger by the day, this show is for you. That's why I do it. Be well, and take today first.

On this episode, Caroline and Priya speak to Grant Pierrus, founder of the Pierrus Agency, the Interior Style Hunter and the Virtual Design Fair.Born and raised in Durban South Africa, Grant moved to Cape Town and his passion in interior design started in his 20s when he was buying and selling houses in Cape Town. He later moved to London working in Marketing before transitioning into interior design via his renowned blog, Interior Style Hunter. In 2015, he founded Pierrus Agency, a brand consultancy for design businesses helping them grow their turnovers which earned him influencer status in the interior design sector and winner of the 'Top Luxury Influencer in the world' by the Luxury Lifestyle Awards!Grant is very passionate about marketing and has shaken up the interior design sector over the years with his tips and advice. What started off as a passion, later birthed the Pierrus Agency and later the Virtual Design Fair which was born during the COVID pandemic.Follow Caroline @caroline.donaghue and Priya @priya.rawal.london and the podcast page @therealrendezvous on Instagram and LinkedIn. Sponsored by V1 & The Luxury Property Forum. Produced by BBE Podcast Agency.#therealrendezvous #internationalproperty #interiordesign #luxuryinteriors #interiordesigner #pierrusagency #primeproperties Hosted on Acast. See acast.com/privacy for more information.

I'm Josh Cooperman, this is Convo By Design and after 3 years, we're back at WestEdge. Deep appreciative breath, a nod to all the work and those who participated and here we go… Designer Resources ThermaSol - Redefining the modern shower experience. Episode 271 featuring Mitch Altman Article, great style is easy. It's the best way to buy beautiful modern furniture York Wallcoverings - Designed to inspire for over 125 years Franz Viegener - Finely crafted sculptural faucets Moya Living -  Beautiful, durable powder coated kitchen, bath & outdoor kitchen cabinetry The nod of appreciation is important because there were times in 2020 and 2021 when I wasn't sure about the future of live events returning in large format editions. Don't get me wrong, I love small gatherings and intimate events, but the big ones are exciting and add another dimension to what we can do, present and how we can engage with large groups at one time. That is also why I think it is so important to lead off with this talk, presented and sponsored by Wescover. Find out how creatives from across the US are pushing the envelope through their innovative approach to design.  They will be joined by Kevin Wildes of Oakland based sustainable furniture brand Model No along with Dallas based textile artist Nosheen Iqbal and Austin designer, Kristin Martino of KozyKasa.  All these creatives share a passion for supporting local artisans, craftsmanship and sustainability.   Learn how these designers stand out by thinking outside the box and sourcing unique and thoughtfully designed products for their projects. Featuring Kristin Martino, Kevin Wildes & Nosheen Iqbal and Moderated by Hilary Sessions Hilary Sessions is a San Francisco Bay Area-based Marketing professional with decades of experience in interior design and business management.  She is the Head of Partnerships and PR for Wescover, a marketplace for authentically designed home decor.  Hilary also served as the Principal of Quarry Hill Consulting, a PR and Marketing firm serving the Interior Design industry. Kristin Marino discovered her passion for design at a young age. Having moved multiple times before she was 18, Kristin found her creative outlet in decorating her bedroom in each new home. She describes moving numerous times as a blessing in disguise because she learned early on that there was a career path in her love for decorating. After earning her degree in Interior Design from the Fashion Institute of Design & Merchandising in Los Angeles, she began working for several top LA-based design firms shortly after graduating. A few more moves and backpacking trips later, she accidentally settled in Austin, TX, where KozyKasa was born. Website: https://kozykasadesign.com  Instagram: https://www.instagram.com/kozykasa_/  Born in Surrey, England, she moved to Texas in her mid-teens, Nosheen Iqbal received a BA with outstanding portfolio award in Communication Design from the University of North Texas. After graduation, she worked for Fossil for over a decade in design, art direction and finally as a lead watch designer. She has also worked for brands such as DKNY, Armani Exchange and a collaborative collection with Opening Ceremony whilst still at Fossil. She is currently a multidisciplinary artist working in the fields of product design and development, illustration and graphic design.  Nosheen Iqbals Pakistani heritage plays a dominate role in her choice of color, pattern and texture. Pakistan has a rich history of pigment dyeing and embroidery techniques which varies in each province and dates back further than the Mughal Empire. She is also heavily influenced by the intricate and interlaced patterns found Islamic Art. Taking key elements from the classical tradition, she elaborates upon them in order to invent a new form of decoration and design.  Kevin Wildes has over two decades of experience in manufacturing, design, marketing, retail merchandising,

I'm Josh Cooperman, this is Convo By Design and I'm getting really excited about something. You know that excitement you felt when you were a kid and found out you were going to Disneyland, or on a big trip? Yeah, it's kind of like that… Why am I excited you ask? WestEdge Design Fair is coming up. I have not been able to say that for 3 years. I have been involved with WestEdge since year 2 or 3, I'm not completely sure, but its has been a while. The show is coming up September 16 through the 18 and it is the first edition in Dallas, Texas. In future episodes of the podcast, you will have the chance to hear from some of the country's greatest design talent discussing issues of design that you might not have heard in the past, that's the objective. It always has been. So, I want to share a past conversation from WestEdge in 2015. This features Fu-Teng Cheng of Cheng Design. I'm keeping the preamble brief here because I am going to include my thoughts from the original post. And you can tell it's original by how my voice has changed. You know how weird it is when you hear yourself on a recording, it's like that for me too. Enjoy this talk from the WestEdge Design Fair, 2015, right after this. So there you go, fun right? And so interesting that these ideas were being shared in 2015, before the world changed. This is exactly why design trade events like WestEdge are so important. And you are either hearing this before WestEdge in Dallas so you can still attend, OR you are hearing this after the show has wrapped in which case, you will be hearing all the panels soon if they are not up already.Either way, make sure to check them out and make sure you make WestEdge next year in Dallas or the LA edition coming back to Southern California.  Thank you to Convo By Design partners and sponsors; ThermaSol, Moya Living, Article Furniture, Franz Viegener, and York Wallcoverings. And thank you for joining me every week for these conversations. I do hope you enjoy them as much as I do. And give yourself a mental hug right now because we are all living through some very interesting times. Personally and professionally. It has gotten much harder to do business, create wonderful and sublime spaces but remember why you do what you do and why you do it. Your clients depend on you to make their lives a little better. Check back here every week for more stories of design professionals and creatives who are doing this at a very high level. Get some new ideas and inspiration to take your firm to the next level. Until next week, be well and take today first. -CXD

Oslo Design Fair er en møteplass for design, arkitektur og håndverk som arrangeres hver høst. Som en del av messen kurateres Tendensutstillingen som skal vise design i kontekst. Vi har snakket med interiørdesigner og stylist – samt kurator for Tendensutstillingen, Kirsten Visdal om hvordan hun jobber frem en utstilling av design, hvordan hun forholder seg til tendensbegrepet – og viktigheten med å bevare kulturarv om enn i ny drakt. Denne episoden er laget i samarbeid med Oslo Design Fair.

Te Arawa Lakes Trust is running it's first Te Tukohu Ngawha Science and Design Fair from tomorrow. It has exhibits from tamariki and rangatahi, focused on blending matauranga Maori and western science to tackle environmental issues facing Aotearoa. 

La segunda edición de #MDF se llevará a cabo a partir del 20 y hasta el 22 de mayo en #PuertoEscondido y, obviamente, —además de #HotelEscondido — hará su debut Terrestre como sede del evento

Initially studying sculpture at the Victorian College of the Arts, Simone Leamon was then given the opportunity to work with contemporary jeweller Susan Cohn. She also later undertook a Masters Degree in Industrial Design at RMIT University. Eight years ago Leamon along with her colleague Ewan McEoin were awarded the positions of the Hugh Williamson Curators at the National Gallery of Victoria and recently included the inaugural Design Fair as part of Melbourne Design Week.@ngvmelbourne@melbournedesignfair@simoneleamon#melbournedesignweekdesignfair.melbournedesignweek.melbournehttps://www.ngv.vic.gov.au/explore/collection/design-architecture

We find out about the London-based international fair for contemporary craft and design that returns to Somerset House this month.

Nuweland Gallery’s presentation at this year’s Cologne Fine Art & Design Fair featured an exhibition of ceramic vases by South ...

It was lovely to get the invite to come and cover the DRAWN Art & Design Fair at Shrewsbury Museum & Art Gallery. AL got to spend 2 days getting to know lots of local artists and discover a little bit about them and hear their stories. Here are all of the interviews that AL managed to get from Day 2 of the event. Featuring conversations with the following artists: - Had Davies - Steffy Illustrations - Sam Pooley-Stride - Alex Embroidery - Francesca from Anuk Jewellery - Lizzistration - Cherie Jerrard I am really happy with how these interviews turned out. They all sound fantastic and capture the great atmosphere perfectly. To everyone that spoke to me: you are all brilliant. Especially as I know some of you were reluctant to speak into the mic. Your stories may inspire budding artists that may listen, your stories are worth sharing and I certainly enjoyed hearing them. Thank you - AL Photo credits: Joshua James Photography.

We absolutely adore local independent artists here at The Biscuit. So to be invited to DRAWN Art & Design Fair at Shrewsbury Museum and Art Gallery was an absolute honour. AL was at the event for 2 days and managed to secure so many great conversations with the featured artists that Day 1 would have been a near 2 hour long episode. So to make things a lot easier to digest this episode has been split up into two parts. This is Day 1, Part 2 and features conversations with the following artists: - Gisela Robinson - Hannah Chumbley - Saffron Russell - Mike Perkins - Zoenso - Katie J Illustrations - Liz from Little Bird Editions - Asija Vesty Day 1 was magnificent, AL was like Alice in Wonderland, speaking to all of the magnificent artists about their superpowers. This couldn't have happened without the invite from Cherie and Tat, so thank you so much! I am going to put on here too (as I did the other episode) the only artist that did not feature on this podcast was Jasmine from Happy Daze Jewellery. We did a great interview, but the audio corrupted so I could not include it. I do intend to rectify this though, by arranging a feature interview with Jasmine in the very near future. Many apologies.

One of the most important goals for the Biscuit is to promote local, independent artists. So to be invited to DRAWN Art & Design Fair at Shrewsbury Museum and Art Gallery was a huge privilege. AL was at the Fair for 2 days and managed to collect interviews from all of the artists that featured. During day one AL managed to collect around 1hr 45mins of great conversation. To make it easier to digest, this has been split into parts 1 and 2. Part 1 features conversations with the following brilliant artists: - Gary Drew - Joshua James - Julie-Anne Pugh - Matt Sewell - Cherie Jerrard - Tat Effby - Mollie Thank you to everyone that spoke to me and of course Cherie and Tat for being the stars that you are. If you are wondering where your interview is from Day 1, make sure you check out the next podcast episode. Apology time, I want say sorry to Jasmine from Happy Daze Jewellery. We did such an amazing interview but the audio failed so I could not include it in this podcast. I feel awful. No fear though as we will make arrangements to come and do a feature podcast with you in the very near future.

When you close your eyes, do you see images?  Maybe it's a face, a memory, an idea or even a scene. [audio mp3="https://media.radiocms.net/uploads/2021/11/26115401/MarkNewmanAphantasia_2611.mp3"][/audio] For Mark Newman, he doesn't see anything. Mark has a condition known as aphantasia, which means that he has no ‘visual imagination' and cannot create mental images in his mind. However, Mark is also an award-winning goldsmith, and makes stunning works of art from hand.   View this post on Instagram   A post shared by ᴹᵃʳᵏ ᴺᵉʷᵐᵃⁿ (@marknewmanjewellery) Speaking to Dermot and Dave, Mark explained how he came upon his diagnosis, and how he uses algorithms and theory to create his beautiful pieces. You can catch Mark's chat by clicking play above. Mark will be at ‘Gifted', the Contemporary Craft and Design Fair, which is taking place in Dublin's RDS from December 1st-5th.

I’m Josh Cooperman and this is Convo By Design. I can’t start this podcast the way I usually do and have for the last seven years. Because I don’t feel the same as I have before. As a matter of fact, the last time I felt this way, it was 1992 and I was on a hilltop in Palos Verdes watching LA burn. I was going to school at Cal State Northridge at the time and bartending at a restaurant in Northridge. When the rioting got bad, they closed the restaurant and cut us loose. It took me 5 and a half hours to drive from Northridge to Redondo Beach. For those not in Southern California, that drive should have, at that time, taken me about forty minutes. In 28 years, it looks like very little has changed. Watching Los Angeles go through this again is heartbreaking and I fear for my friends, many of whom are designers and others who have spent so many years creating and developing their showrooms. I am saddened by this and even more so by what has brought this on. For those of you who have been affected by this, directly and indirectly, my heart goes out to you and yours, and from all of us at Convo By Design, we are with you. I believe because I have seen that the healing process is slow, and better when you don’t have to do it alone. In the spirit of LA, as a true Angeleno, the show must go on and it will, as it always does. But some things have to change. That being said, while not perfect by any stretch. I have seen changes in Los Angeles, changes for the better. We are having more conversations, more challenging conversations about issues that go far deeper than design and architecture. This week is one that I hope allows you to just feel the wind on your face and begin to heal a little bit from what has become the most challenging times in many if not most of our lives. So take a deep breath with me and enjoy this conversation from the WestEdge Design Fair all about blending indoor/ outdoor design… California has long led the design world in providing new ways to blur the lines between inside and out. The climate, lifestyle, and California mindset provide everything but the design itself. True indoor-outdoor living is less about windows, doors, and walls but more a combination of skill, material mastery, and topographical strategy. This is a great conversation featuring; Stephen Block, owner of Inner Gardens, a boutique Los Angeles nursery, Joan Barton from Dirty Girl Construction, Bret Englander of Cerno Lighting, and Duan Tran from KAA Design. This conversation is moderated by Modern Luxury Group Publisher, Christopher Gialanella. I think you are going to love this! That was amazing, thank you, Chris, Stephen, Joan, Duan, and Bret.  Thank you Walker Zanger for your continued support and thank you for listening, downloading every episode, and engaging on the socials. Please follow the show stay up to date on where we will be at convobydesign.com and @ConvoXDesign with and “X” on Instagram. If you are not yet subscribing, please do, you can find the show everywhere you find your favorite podcasts or simply ask Alexa or Siri, say, “Hey Siri, play Convo by Design podcast”, and she will. Be well and until next week, keep creating.

Each fall, there’s a cool art and design gathering called WestEdge Design Fair in Santa Monica.  It’s held in the Barker Hanger, an enormous space at the Santa Monica airport.  This year, USModernist's George Smart moderated two panels with some of the most well-known designers from around America and the UK. What you’re about to hear is one of those panels, Epic Spaces and Favorite Places, with guests Tom Parker, Alison Pickart, David Thompson, John McClain, and Massimo Buster Minale. This is a rebroadcast of Josh Cooperman’s Convo by Design, the official podcast of WestEdge, which recorded the panel.  Many thanks to Josh and WestEdge for allowing us to share this with you directly.  Enjoy!

Collectible 2020 : souriez, vous avez rendez-vous avec la crème de la crème du design contemporain de collection. ! On a rencontré Liv Vaisberg et Clélie Debehault, les deux fondatrices  : leur ambition ? Être iconoclaste et stratégique en brisant les codes de la foire d’art. Si vous ne le saviez pas encore, ce salon unique et exclusif consacré au design du 21ème siècle, revient pour une troisième édition à Bruxelles. Un épisode à ne pas manquer si vous aimez le design et l'innovation. Bonne écoute...! Nouveauté :  cet épisode est bilingue pour la partie FR : 1,01' - 6,12' et pour la partie NL : 6,15 - 12,18.

Irthi Contemporary Crafts Council unveiled its first exclusive product line at a special showing at the London Design Fair, where they represented the UAE as the fair’s ‘Guest Country’, for the first time. Irthi revealed 12 exclusive product collections that represent the craft and design talent of women in the UAE, giving the artisans their highest-profile international platform to date, highlighting the Council’s pioneering programme of creative, cultural and commercial initiatives designed to empower women through the crafts. The collections are a result of two of the council’s recent projects: “Design Labs” and “Crafts Dialogue”, which were launched earlier this year. Sally welcomed back Farah Nasri, Design Executive at Irthi to learn more! Listen to #Pulse95Radio in the UAE by tuning in on your radio (95.00 FM) or online on our website: www.pulse95radio.com ************************ Follow us on Social. www.facebook.com/pulse95radio www.twitter.com/pulse95radio www.instagram.com/pulse95radio

Charon Kransen is an internationally known lecturer and gallerist representing studio jewelers from around the world. He established Charon Kransen Arts in New York City in 1993, and the gallery’s collection consists of jewelry, hollowware and accessories by both renowned and emerging artists. The work is presented annually at various American art fairs, such as Sculpture Objects Functional Art and Design (SOFA), Art Palm Beach and the Int. Art and Design Fair in New York, and at select galleries specializing in contemporary crafts and design. Educated as a jewelry artist in Holland, Germany, Israel and Norway, Charon has taught and lectured extensively worldwide. The educational branch of Charon Kransen Arts also includes the distribution of books and exhibition catalogs on all aspects of jewelry, metal and design. What you’ll learn in this episode: Why there was an explosion in the Netherlands of new jewelry styles using unconventional materials. Why education is the key to promoting an appreciation of contemporary jewelry. What qualities Charon looks for in new artists. Why avant-garde artists often end up making commercially appealing pieces out of necessity. How to evaluate and determine if you should acquire a piece of art jewelry. Additional resources: Website: www.charonkransenarts.com

This is Convo By Design and after five years doing the podcast, after 200 podcast episodes and 150 videos on YouTube, this might be a good opportunity to republish some previous episodes of the show. Moving forward, as the schedule permits, which means I am going to try and publish these every week, but things happen… anyhow, moving forward and schedule permitting, I am going to publish a #ThrowbackThursday episode featuring guests you haven't heard from in a while….This episode is dedicated to the Convo By Design Social Lounge and Stage from the WestEdge Design Fair. We have created a design space for the event going on 5 years now. I wanted this episode to spotlight our designer from 2016, Ryan White. Ryan was a blast to work with. He is smart, creative and very professional in his approach. This design space did not just happen. There was a great deal of planning that went into it. There were challenges to overcome, some were daunting. What you are about to hear is a three part story, I met Ryan two weeks before the event to discuss the last minute Planning, you will then hear the conversation with event partners, Courtney Genovese from The Rug Company, Anne Lockwood Crowningsheild from Empiric and Orli Ben-Dor from Hollywood At Home. And to wrap it up, we circled back with Ryan at the end, just before we broke the space down. This was an amazing process and I will tell you, a little sad and relief, combined at the end. This was originally episode number 94 from December 2016. Thank you for listening to this episode of Convo By Design, if you enjoy this episode, please leave us a positive rating, it helps others find the show. You can also engage with the show on Instagram, Facebook and twitter. Enjoy the show.#Design #Architecture #ConvoByDesign #Interiors #Hollywood #WarnerBros #RyanWhiteDesign #WestEdgeDesignFair #HoolywoodAtHome #RugCompany #EmpiricConvo By Design - http://www.ConvoByDesign.com Empiric Studio - https://www.empiricstudio.comRyan White Designs - http://www.ryanwhitedesigns.comThe Rug Company - https://www.therugcompany.com/us-en/Hollywood At Home - https://www.hollywoodathome.com/collections/decor-1Convo By Design Podcast - https://itunes.apple.com/us/podcast/convo-by-design/id937267494?mt=2Convo By Design YouTube Channel - https://www.youtube.com/channel/UCKLsQtysPpe_zFkIN4MoAfg

In this episode of the Data Show, I spoke with Sharad Goel, assistant professor at Stanford, and his student Sam Corbett-Davies. They recently wrote a survey paper, “A Critical Review of Fair Machine Learning,” where they carefully examined the standard statistical tools used to check for fairness in machine learning models. It turns out that […]

It’s Fall and you know what that means… WestEdge Design Fair is coming. This will be our 5th year as a media partner and our fourth year hosting live conversations from the event. This year, we have some special things to share so I hope you can make it out October 19th through the 22nd at Santa Monica’s Barker Hangar. I sat down with Megan Reilly and Troy Hanson, co-founders of WestEdge about the show this year and what you can expect to find. As usual, Troy and Megan have an experience planned for you. Here is Troy Hanson and Megan Reilly from the WestEdge Design Fair. Music provided by Electric Sol Artist: Electric Sol Song: Your Love Makes Me High www.electricsolmusic.com

Steven Learner walks us through Collective 2, Design Fair in New York. Collective is a unique fair in that it focusses solely on collecting design, something strangely missing in the long list of New York City fairs. The combined exhibitions of the Design Academy Eindhoven and Hella Jongerius were welcome as they bring a broader perspective to the whole. But also the variety of galleries enabled visitors to see both current, past and future trends in furniture design. More information on collectivedesignfair.com Music: CHLLNGR "Datter" (creative commons sharealike3.0) Video: Designguide.tv

Steven Learner walks us through Collective 2, Design Fair in New York. Collective is a unique fair in that it focusses solely on collecting design, something strangely missing in the long list of New York City fairs. The combined exhibitions of the Design Academy Eindhoven and Hella Jongerius were welcome as they bring a broader perspective to the whole. But also the variety of galleries enabled visitors to see both current, past and future trends in furniture design. More information on collectivedesignfair.com Music: CHLLNGR "Datter" (creative commons sharealike3.0) Video: Designguide.tv

Steven Learner walks us through Collective 2, Design Fair in New York. Collective is a unique fair in that it focusses solely on collecting design, something strangely missing in the long list of New York City fairs. The combined exhibitions of the Design Academy Eindhoven and Hella Jongerius were welcome as they bring a broader perspective to the whole. But also the variety of galleries enabled visitors to see both current, past and future trends in furniture design. More information on collectivedesignfair.com Music: CHLLNGR "Datter" (creative commons sharealike3.0) Video: Designguide.tv