When did you decide to start Fair Folks & a Goat?

Aurora: This is something that Anthony had been thinking about for a while. We met and started working on this just about exactly a year ago – September 1st. Anthony had this idea and he told me about it. It was exactly the kind of thing that I wanted to be involved in. It seemed like a project that had heart. Something that would keep me up at night, and I would want to be up working on it. We officially opened the New York space on November 1st.

Anthony: I lived down in the village, and I would walk around at night all the time. I would see these beautiful houses, and I was living in a 350 sq. ft. apartment on the top floor of a 6-floor walk-up. And I was thinking that there a lot of people, like my friends and I, that were living similar experiences. I was so hungry to take in New York, but I was seeing so much of it via New York Magazine and the internet.

There’s all these worlds that you aren’t in, that are behind closed doors.

Anthony: Yeah, and I wanted a place that could function the way these magazines were functioning for me. But rather than flipping through pages and reading about art and culture and fashion and cuisine, I could walk in and experience them with other people. Walking around the village, seeing all these beautiful townhouses, I said to myself, “This is why I came to New York. Not to live in this hovel!”

So Aurora and I started talking. If we could display those old, iconic images that we grew up reading about in the Fitzgerald stories and the Edith Wharton stories and the old movies we watched… I wasn’t seeing them in my life, but I was still looking for them, endlessly. We had big ideas to open a community space which gave that to people. They have their job, they have their home, and then they have this third place called Fair Folks for art, culture, and conversation. That’s what we’re hoping to grow.

How did you find this beautiful space that you’re in?

Anthony: I used to live here. I think I was either going to the Guggenheim or the Met, and I saw all these buildings, and a sign that said, “Carnegie Hill District.” When I got home, I looked it up online and started browsing through spaces just for fun. I wanted to see what the inside of one of these places looked like. That was really it – I didn’t expect it to change my life dramatically. Then I walked into this room. I tried to play it cool, but as soon as I left, all I could think was, “How am I going to get to that point?” I went back to my old job with a new sense of drive, and got out of my old lease, and moved in here. It was just something that once I saw it, had to happen.

When Aurora and I were kicking around the idea for Fair Folks, we were thinking that we had to find space in the West Village, or near Lafayette Street, somewhere downtown. We looked at all kinds of properties, but we wanted a different narrative. When someone walks into our space, we want them to feel transported. We want them to forget what they’re used to. And it works here, with our entrance and our staircase, and the fact that you have to take a physical journey uptown. So this space lent to a lot of the things we wanted to do, understanding tradition and things that will forever be beautiful and connecting them to things that are contemporary.

Can you talk about some of the events you’ve had here, and how you’ve been using the space to make that connection?

Aurora: When we first started, our plan was to do teas on the weekends. Having people come together around a cup of tea was the initial way to get people to come to the space and stay for a little while. I think it’s something that speaks to an older way of socializing that people aren’t used to anymore, but it doesn’t have to be so out of the ordinary. We still do those, and we’ve been upping the number of special events that we’ve been having. There have been brunches, and musical performances…

That seems like it would go really well.

Aurora: Yeah, it was great. One of them was Meshiya Lake, who’s a musician from New Orleans. It was great to have that bridge between this space and our newer space in New Orleans. Her band and her are ragtime, definitely from another era, and having them lined up here – it was really transformative. The windows were all open, and there were people out on the street who stopped and listened. When the band realized that there were so many people out there watching, they all leaned out the window and played to them. It was really cool.

Anthony: And the acoustics in here were amazing. It’s what the room was built for, I think. There was no microphone.

Aurora: We keep trying to get other musicians to come in and do a show for us, because it was great.

Anthony: The guy that lived in here before was a sound engineer for Lenny Kravitz, so he wrote a lot of music in here. And there were two sisters that were in here that were channelers before that. Some scary things have probably happened in this space!

Ooooh! Before I completely digress and talk about channelers – let’s talk about your New Orleans space. Why did you open that?

Anthony: Well, after getting a little frustrated trying to find the right space here in New York, we started looking all over the place.

Aurora: We love this space, and it’s been really great for us as far as getting our vision out there, but we really wanted an entire house to work with.

Anthony: In New Orleans, it is the full idea. It’s a great challenge, and challenges are fun! We want to create a fully curated space, all the way down to the lightswitches, and provide spaces for people to connect and interact. And in New Orleans, there is a little more heart to it – it feels good to be doing business there. It feels good to be in a place that really needs community building.

How have people been finding out about your spaces? Their allure is that they’re kind of secret and hidden, which is both a bonus and a challenge.

Aurora: Getting press has been really helpful for us, and word of mouth. A lot of people have found their way to us, just by seeing or hearing a little something about us and becoming curious.

Anthony: We do everything by appointment here, because we have to, because we’re in a residential space. But if there’s any advice to give, it’s that we treat every appointment as if it’s the next big opportunity. You don’t know who’s walking in the door or where it will lead, and that’s exciting. We always try to put our best foot forward, no matter who it is. We want them to stay for an hour or two hours, and we want to see if there’s a way in which they can become a part of this.

I think that’s a good note to end the interview on – and we’re really looking forward to collaborating with you! Readers, stay tuned for an announcement very soon about our next event, in collaboration with Fair Folks.

Fall 2010 Internship at Design Glut.

We’re a giftware company with a strong emphasis on community and events. As part of our commitment to getting out there, connecting with people, and sharing the knowledge, we publish interviews with creative entrepreneurs. Who do we interview? The best and the brightest. The passionate and the most driven. People who are taking life by the horns and following their dreams. If you’re a young writer or a journalism student looking to explore the city of New York, meet some of the most interesting and creative people you’ve ever met, and build a solid body of work to show future employers, this internship is for you.

All interviews are conducted in person, recorded and later transcribed. We will coach you and guide you through our process. Expect to work hard and learn lots! Check out our past interviews here, to become familiar with our content and style.

You should be terribly driven yourself, in order to get the most out of this internship. We require a commitment of at least 2 days a week. Half of that time will be spent in our office in Bushwick, Brooklyn, and the other half you will be around the city conducting interviews. This internship is unpaid, but we offer school credit to current students.

To apply, please email your resume and writing samples to designglutblog -at- gmail.com, and tell us why you’re the perfect person to connect with and interview creative entrepreneurs. The subject line of your email should say, “I am a responsible human being and I actually read your whole blog post.” That’s all folks – we’re looking forward to hearing from you!

You could be here, in our incredibly fancy office.

How would you describe your design aesthetic and the way you think about design?

Since I’ve been on my own, and actually when I worked for a firm, I find that my designs are very much dictated by my clients. My clients are very savvy – they have a very strong sense of what they like. If they’re hiring a designer, it’s because design is important to them. The client always dictates the mood.

Which makes sense, because they’re going to be living there!

Of course. And then I put their ideas through my filter, and I help make their ideas more cohesive and functional. If they like this picture, and what it to feel that way, I make that work for them.

Is that what people give you? Pictures from magazines? How do they communicate what they’re feeling?

That’s what I ask them to do. It’s always best to start with pictures. With words, we might be visualizing completely different things, but with a picture we’re on the same page. I think it helps to look at a ton of different pictures and then try to communicate what we like about the pictures.

Could you walk me through working with a client? It starts with bringing pictures to the table. What happens next?

It depends on the scope of the job. I mostly do renovation work. I like to do big projects where we’re really going to change a space. I’ll do decorating jobs here and there, but most of the work I do has been more than that. We’ll figure out how the space needs to function, if there’s a bathroom or kitchen that needs to be updated, or rooms that need to be moved around. Then based on the pictures we’ll do floor plans and pick furniture that meets the mood and the needs.

That’s a nice segue into how I met you – at BKLYN Designs this year. Several of the furniture designers and makers you work with were there.

Right. I do a ton of custom work. I know exactly how I think something should look for my client. Once I get to know them and start to sense their needs and what they like, I find that’s it’s not easy to just go out and buy a pre-existing piece that I think will be right. So 95% of what I buy, I design.

Cool!

I found some really great artisans in Brooklyn – a lot of people that are younger and starting their own businesses, or maybe have been in business for five years. You know some of them – I work a lot with Uhuru and Matthew Fairbank. They are really passionate about their craft, and it’s been great to work with them. I’ll bring them a certain idea, and they’ll bring in their expertise. Those collaborations are one of my favorite parts of what I do.

How did you get into interior design? When did you know it’s what you wanted to do?

When I was in college, I interned at Black Book magazine, and when I graduated I worked there for two years. I kind of floated around there – I started in the art department, I worked in the fashion department… I knew I wanted to do something creative but I wasn’t sure exactly what. Eventually I figured out that publishing wasn’t for me, so I went back to school for interior design. It seemed like a flexible profession, and one where I could either work for a firm, or I could do it smaller on my own. And it was something I could still do if I left New York, whereas for fashion you really need to be here.

Can you describe how you transitioned from working for someone else to deciding to do your own thing? That’s always an exciting part of the story!

I always knew I wanted to start my own business, but I wasn’t expecting to do it so soon. I worked for different designers when I went back to school, but I’d really only been out and working full time for about a year. A friend of a friend called me because she had bought an apartment on the Upper West Side and wanted to gut it. She said, “I’ve met a bunch of interior designers, but they’re all older and they’re completely out of touch with what I want.”

My first reaction was, “I work for a firm and I don’t have time, sorry!” But I ended up just meeting her for coffee, and we got along really well, so I took on the project while I was working. Then I got another client, so I just quit my job! It was a leap of faith, and it’s been good. It’s been almost three years now.

What’s been the hardest part to learn about working for yourself?

The hardest part for me is that I’m not sure how I’m going to get my next client. I’ve worked well and gotten along really well with all my clients, but I never know where they’re going to come from – they come from the most unexpected places. I’m always scared that my projects are going to end and I’m not going to have any more work, but it hasn’t happened yet!

It’s definitely a rollercoaster! Now that you’ve been in this a few years, what advice do you have for creatives that want to strike out on their own?

You need to go into it knowing that it’s not going to be easy. But if your really want to do it, I think you can make it work no matter what. If you stick with it long enough, it will work.

What’s been your proudest moment along the way?

I’ve just started completing some of my bigger projects. I take easily two years to do one job. When you’re working on something that long, having a project wrapped up and photographed is amazing! And seeing my clients satisfied. I know they’re putting a lot of faith in me, and hearing them say that it looks great and they’re really happy is the best feeling.

See more at laurensterndesign.com

Now that baby Isaac has arrived, the tiles are being put to great use in her nursery. Many thanks to Miryam for sharing pictures!

Jean from NOTCOT also just shared some pictures of how she uses Hookmakers in her house. So cool! We love seeing what you guys are using them for.

Ger your hands on some Hookmakers here in our web store, and send along pictures of how YOU use them!

Dear Internet,

We’ve been quiet lately, I know. One might even say negligent. But the lack of online activity has been directly proportional to the amount of planning, plotting, and busting-our-asses-in-the-office. And finally, finally things are ready to release!

The new website.

You’re on it. It’s really very exciting. Our web store is better than ever, and we’ve added new sections like Clients, Corporate Gifts, and Events – showcasing the directions we’re growing in. And now that we’ve finally gotten the new framework set up, we’ll be back to posting interviews and memes and general inspiration – all the good stuff you’ve come to know us for. We’re ready to rock!

The new products.

We’re proud to launch the Jar Tile, our new storage tile and companion piece to the Hookmaker. These babies are great for cleaning up clutter and/or hiding secrets. What would you use them for? Let us know in the comments! The Jar Tile is $30.00 and you can get your hands on it here.

In addition, our Awkward Moment Cards are finally available for sale! Get out there and start some uncomfortable coversations. $20.00 for a set of 5, available here.

The sale.

Select products are 40% off – go to the online store and scroll to the bottom to see our new *sale section.* Grab this stuff up quick because when the stock is gone, it’s gone for good.

NYIGF.

It’s trade show time. We’ll be at the New York International Gift Fair in the Accent on Design section – with even more new stuff we’ve yet to show anybody. Booth #3748. Come say hi!

Party Pictures.
We just put up image galleries from Laser Party and Uncomfortable Conversations – check it out and see if you make an appearance.

Twice a year, New York Times Magazine publishes the “Key” – a section which discusses the housing market of the past 6 months, and where it’s headed.

We were commissioned to design an object to illustrate the opening page of the section. In keeping with the economic times, the theme of this issue (which came out in October 2009) was rebirth and renewal.

Drawing on our experience in manufacturing, we wanted to show the transformation of raw material into something finished. This piece shows the surreal “birth” of an object, as a pool of molten metal rises up into a fully-formed key.

Our solution embodied the transformation the real-estate market was moving through, as well as an optimistic vision of its future. After presenting renderings of our idea, we had the final object rapid prototyped, chrome plated, and photographed for the intro page.

Click the thumbnails for larger images.

The tech blog Switched reached out to us for their video segment on the Brooklyn-based 3-D printer company MakerBot. In a one-day design challenge, we were asked to design, develop and “print” a set of salt and pepper shakers using their machine. The whole project, from concept to production, happened in 24 hours.

Working within the time constraints, we saw this as an opportunity to branch out from Egg Pants, and create salt and pepper shakers to go with the three-legged form.

This video gives an inner look at the design process which we apply to all our projects.

We begin discussing ideas, and then move on to sketching. Once a direction has been solidified, we start figuring out exact dimensions and build a CAD model in SolidWorks. This is where all of the details are fleshed out and the form is perfected. When we’re completely happy with it, we have the product 3D printed, so that we can test a real-life prototype. Watch the video – we’ll take you through it all!

Click the thumbnails for larger images.

Last October, Joby hired Citizen:CITIZEN to curate a pop-up shop and gallery space in San Francisco, and brought us in for the challenge. The project? To use the modular structure of Joby’s tripods to design and create something new.

The Gorillapod already had such a unique, human quality, that after playing with it for a bit, we thought: “What could be more fun than repurposing the Joby parts to make actual dolls?”

Using CAD and MakerBot’s rapid prototyping technology, we designed, modeled, and printed a series of toy parts which interlocked with the Joby’s modular, bendable structure. The result? A set of customizable, bendable robots. They may not hold your camera, but will definitely be your friend.

Click the thumbnails for larger images.

As part of an article on DIY home decoration, Time Out magazine challenged us and 4 other designers to find new uses for everyday objects. Our assigned object: a standard doorknob.

After a quick trip to Home Depot to get our hands on a couple loose doorknobs, we decided that when they were turned vertically, they reminded us of the shape of old-fashioned candlesticks. How fun would that be?

We made a few changes to transform the doorknobs – taking out all the internal springs and mechanisms, capping the bottom, and drilling a hole in the top to fit a standard taper candle.

Voila! We transformed these stock, inexpensive knobs into elegant candlesticks that you’d be proud to show off.

Click the thumbnails for larger images.