This episode of Material Matters is as much about an object as it is a material. Tom Broughton is the founder of Cubitts, a modern spectacles company based in London’s Kings Cross. The company started in 2013 from his kitchen table and has grown to 20 stores across the UK and US, serving 250,000 customers across 100 countries. It offers frames in a number of materials – such as stainless steel and titanium – but is renowned for its use of acetate.According to the company’s website Cubitts was ‘founded to help more people live better lives through spectacles they proudly wear – and create a better, and more responsible, industry along the way.’In this episode we talk about: how early Modernism influenced Cubitts; living in (and loving) the Isokon building; founding his company and ‘literally doing everything’; not having a business plan; the joy of acetate and how the material defines his brand; a brief history of spectacles and London’s making legacy; why he has a problem with the word ‘eyewear’; being prescribed glasses at the age of 14 and collecting vintage frames in his 20s; getting bored easily and enjoying failure; disrupting the optics industry; being &apos;unrelenting&apos; and making sacrifices in his personal life; and having an addictive personality.<a rel="payment" href="https://www.patreon.com/materialmatters?fan_landing=true">Support the show</a>

<description>&lt;p&gt;This episode of &lt;em&gt;Material Matters&lt;/em&gt; is as much about an object as it is a material. Tom Broughton is the founder of Cubitts, a modern spectacles company based in London’s Kings Cross. The company started in 2013 from his kitchen table and has grown to 20 stores across the UK and US, serving 250,000 customers across 100 countries. It offers frames in a number of materials – such as stainless steel and titanium – but is renowned for its use of acetate.&lt;/p&gt;&lt;p&gt;According to the company’s website Cubitts was ‘founded to help more people live better lives through spectacles they proudly wear – and create a better, and more responsible, industry along the way.’&lt;/p&gt;&lt;p&gt;In this episode we talk about: how early Modernism influenced Cubitts; living in (and loving) the Isokon building; founding his company and ‘literally doing everything’; not having a business plan; the joy of acetate and how the material defines his brand; a brief history of spectacles and London’s making legacy; why he has a problem with the word ‘eyewear’; being prescribed glasses at the age of 14 and collecting vintage frames in his 20s; getting bored easily and enjoying failure; disrupting the optics industry; being &amp;apos;unrelenting&amp;apos; and making sacrifices in his personal life; and having an addictive personality.&lt;/p&gt;&lt;p&gt;&lt;a rel="payment" href="https://www.patreon.com/materialmatters?fan_landing=true"&gt;Support the show&lt;/a&gt;&lt;/p&gt;</description>

This episode of Material Matters is as much about an object as it is a material. Tom Broughton is the founder of Cubitts, a modern spectacles company based in London’s Kings Cross. The company started in 2013 from his kitchen table and has grown to 20 stores across the UK and US, serving 250,000 customers across 100 countries. It offers frames in a number of materials – such as stainless steel and titanium – but is renowned for its use of acetate. According to the company’s website Cubitts wa...

Cubitts founder Tom Broughton on acetate and the history of spectacles.

Brodie Neill is a Tasmanian-born but London-based furniture designer, who has made a name for himself by creating pieces from waste and reclaimed materials. In 2016, for example, he represented Australia at the inaugural London Design Biennale with his exhibition entitled, Plastic Effects. In it, he showcased the Gyro Table, with a top made of fragments of recycled ocean plastic that had been salvaged from beaches in places like Hawaii and Cornwall.  Over the years, his furniture pieces have been made from dowels, reclaimed school floors, and wood found in some extraordinary places. He has also collaborated with brands such as Microsoft, Mercedes-Benz and Alexander McQueen, while his limited edition works feature in museums and galleries around the globe.  In this episode, we talk about: why he found himself in the Antarctic earlier this year; sharing a ship with over 30 scientists; the new work that is emerging from the &apos;adventure of a lifetime&apos;; how finding plastic on a Tasmanian beach proved a pivotal moment in his career; creating the iconic Gyro Table; how he collects ocean plastic; creating high end products from ‘underwater’ wood and old school floors; unleashing ‘material potential’; inheriting his grandfather’s tools; day dreaming at school; and why he needs to be near making. And remember the inaugural Assemble with Material Matters takes place on 20 November at the Bank of England Conference Centre. Tickets cost £175 (+ VAT) and are officially available until 6 November. To secure your place click <a href='https://registration.iceni-es.com/material-matters-assemble/reg-contact.aspx'>here</a><a rel="payment" href="https://www.patreon.com/materialmatters?fan_landing=true">Support the show</a>

<description>&lt;p&gt;Brodie Neill is a Tasmanian-born but London-based furniture designer, who has made a name for himself by creating pieces from waste and reclaimed materials. In 2016, for example, he represented Australia at the inaugural London Design Biennale with his exhibition entitled, Plastic Effects. In it, he showcased the Gyro Table, with a top made of fragments of recycled ocean plastic that had been salvaged from beaches in places like Hawaii and Cornwall.  &lt;/p&gt;&lt;p&gt;Over the years, his furniture pieces have been made from dowels, reclaimed school floors, and wood found in some extraordinary places. He has also collaborated with brands such as Microsoft, Mercedes-Benz and Alexander McQueen, while his limited edition works feature in museums and galleries around the globe.  &lt;/p&gt;&lt;p&gt;In this episode, we talk about: why he found himself in the Antarctic earlier this year; sharing a ship with over 30 scientists; the new work that is emerging from the &amp;apos;adventure of a lifetime&amp;apos;; how finding plastic on a Tasmanian beach proved a pivotal moment in his career; creating the iconic Gyro Table; how he collects ocean plastic; creating high end products from ‘underwater’ wood and old school floors; unleashing ‘material potential’; inheriting his grandfather’s tools; day dreaming at school; and why he needs to be near making. &lt;/p&gt;&lt;p&gt;And remember the inaugural Assemble with Material Matters takes place on 20 November at the Bank of England Conference Centre. Tickets cost £175 (+ VAT) and are officially available until 6 November. To secure your place click &lt;a href='https://registration.iceni-es.com/material-matters-assemble/reg-contact.aspx'&gt;here&lt;/a&gt;&lt;/p&gt;&lt;p&gt;&lt;a rel="payment" href="https://www.patreon.com/materialmatters?fan_landing=true"&gt;Support the show&lt;/a&gt;&lt;/p&gt;</description>

Brodie Neill is a Tasmanian-born but London-based furniture designer, who has made a name for himself by creating pieces from waste and reclaimed materials. In 2016, for example, he represented Australia at the inaugural London Design Biennale with his exhibition entitled, Plastic Effects. In it, he showcased the Gyro Table, with a top made of fragments of recycled ocean plastic that had been salvaged from beaches in places like Hawaii and Cornwall.   Over the years, his furniture pieces...

Brodie Neill on ocean plastic (and reclaimed wood). 

James Fox wears a couple of hats. He is director of studies in History of Art at Emmanuel College, Cambridge and creative director of the Hugo Burge Foundation. As well as that he is a BAFTA-nominated broadcaster and an author with a brand new book out. Craftland: A Journey Through Britain&apos;s Lost Arts &amp; Vanishing Trades is his journey through Britain to discover the craftspeople that literally make this island. En route he meets dry stone wallers, a rush weaver, a thatcher, a letter cutter and a watchmaker to name just a few. The book illustrates what we once had and what we could be in danger of losing, while also highlighting the importance of hand skill and materiality in a digital age. In this episode we talk about: why ‘craft’ remains a contentious word; craft as both a contemporary invention and an approach to life; the relationship between hand making and digital culture; how Fox discovered art as a child; bridging the divide between fine art and craft; the field’s ‘inherent diversity’; what the state could do to help makers; crafts potential role in the transition to Net Zero; why Craftland is ‘nostalgic for the present’; the importance of tacit knowledge; and why the future of making in Britain is bright. You can purchase a copy of Craftland <a href='https://shop.materialmatters.design/products/craftland-a-journey-through-britain-s-lost-arts-and-vanishing-trades'>here</a>. The full programme for Assemble with Material Matters, our new one-day conference held at the Bank of England Conference Centre on 20 November, is available <a href='https://materialmatters.design/conference'>here</a>.And you can secure your place at the conference <a href='https://registration.iceni-es.com/material-matters-assemble/reg-contact.aspx'>here</a>.If you love the podcast, you’ll adore the conference.<a rel="payment" href="https://www.patreon.com/materialmatters?fan_landing=true">Support the show</a>

<description>&lt;p&gt;James Fox wears a couple of hats. He is director of studies in History of Art at Emmanuel College, Cambridge and creative director of the Hugo Burge Foundation. &lt;/p&gt;&lt;p&gt;As well as that he is a BAFTA-nominated broadcaster and an author with a brand new book out. &lt;em&gt;Craftland: A Journey Through Britain&amp;apos;s Lost Arts &amp;amp; Vanishing Trades&lt;/em&gt; is his journey through Britain to discover the craftspeople that literally make this island. En route he meets dry stone wallers, a rush weaver, a thatcher, a letter cutter and a watchmaker to name just a few. &lt;/p&gt;&lt;p&gt;The book illustrates what we once had and what we could be in danger of losing, while also highlighting the importance of hand skill and materiality in a digital age. &lt;/p&gt;&lt;p&gt;In this episode we talk about: why ‘craft’ remains a contentious word; craft as both a contemporary invention and an approach to life; the relationship between hand making and digital culture; how Fox discovered art as a child; bridging the divide between fine art and craft; the field’s ‘inherent diversity’; what the state could do to help makers; crafts potential role in the transition to Net Zero; why &lt;em&gt;Craftland&lt;/em&gt; is ‘nostalgic for the present’; the importance of tacit knowledge; and why the future of making in Britain is bright. &lt;/p&gt;&lt;p&gt;You can purchase a copy of &lt;em&gt;Craftland&lt;/em&gt; &lt;a href='https://shop.materialmatters.design/products/craftland-a-journey-through-britain-s-lost-arts-and-vanishing-trades'&gt;here&lt;/a&gt;. &lt;/p&gt;&lt;p&gt;The full programme for &lt;em&gt;Assemble with Material Matters&lt;/em&gt;, our new one-day conference held at the Bank of England Conference Centre on 20 November, is available &lt;a href='https://materialmatters.design/conference'&gt;here&lt;/a&gt;.&lt;/p&gt;&lt;p&gt;And you can secure your place at the conference &lt;a href='https://registration.iceni-es.com/material-matters-assemble/reg-contact.aspx'&gt;here&lt;/a&gt;.&lt;/p&gt;&lt;p&gt;If you love the podcast, you’ll adore the conference.&lt;/p&gt;&lt;p&gt;&lt;a rel="payment" href="https://www.patreon.com/materialmatters?fan_landing=true"&gt;Support the show&lt;/a&gt;&lt;/p&gt;</description>

James Fox wears a couple of hats. He is director of studies in History of Art at Emmanuel College, Cambridge and creative director of the Hugo Burge Foundation.  As well as that he is a BAFTA-nominated broadcaster and an author with a brand new book out. Craftland: A Journey Through Britain's Lost Arts &amp; Vanishing Trades is his journey through Britain to discover the craftspeople that literally make this island. En route he meets dry stone wallers, a rush weaver, a thatcher, a letter...

James Fox on his extraordinary journey through Britain's crafts.

Bonnie Hvillum is a Danish designer and founder of Natural Material Studio, which, as the names suggests, makes its own materials using natural resources and various waste streams. Working at the meeting point between material science, art and design, the studio creates products, installations, exhibitions and research projects, working with clients such as adidas, Calvin Klein, Noma, Dinesen, Copenhagen Contemporary and the Danish Architecture Centre.  Bonnie will also be part of Material Matters London, which takes place from 17-20 September at Space House,  with her education platform focused on supporting curious creators who strive to craft a more holistic, local, and nature-minded future, The Material Way, which she runs with curator Rita Trindade. In this episode we talk about: being on maternity leave; founding Natural Material Studio and The Material Way; pushing the possibilities of materials; bonding history with the future… in a poetic way; casting textiles; her breakthrough moment; the craft behind her work; creating an interior you can melt; the importance of fluidity; ‘redefining wood’; studying Nordic literature at university; and being uncompromising but collaborative. Material Matters London runs from 17-20 September at Space House. Register <a href='https://registration.iceni-es.com/material-matters/reg-start.aspx'>here</a>. And we’ve also opened a new on-line bookshop featuring many titles that have been talked about on this podcast. You can find that <a href='https://shop.materialmatters.design/'>here</a>.<a rel="payment" href="https://www.patreon.com/materialmatters?fan_landing=true">Support the show</a>

<description>&lt;p&gt;Bonnie Hvillum is a Danish designer and founder of Natural Material Studio, which, as the names suggests, makes its own materials using natural resources and various waste streams. &lt;/p&gt;&lt;p&gt;Working at the meeting point between material science, art and design, the studio creates products, installations, exhibitions and research projects, working with clients such as adidas, Calvin Klein, Noma, Dinesen, Copenhagen Contemporary and the Danish Architecture Centre.  &lt;/p&gt;&lt;p&gt;Bonnie will also be part of Material Matters London, which takes place from 17-20 September at Space House,  with her education platform focused on supporting curious creators who strive to craft a more holistic, local, and nature-minded future, The Material Way, which she runs with curator Rita Trindade. &lt;/p&gt;&lt;p&gt;In this episode we talk about: being on maternity leave; founding Natural Material Studio and The Material Way; pushing the possibilities of materials; bonding history with the future… in a poetic way; casting textiles; her breakthrough moment; the craft behind her work; creating an interior you can melt; the importance of fluidity; ‘redefining wood’; studying Nordic literature at university; and being uncompromising but collaborative. &lt;/p&gt;&lt;p&gt;Material Matters London runs from 17-20 September at Space House. Register &lt;a href='https://registration.iceni-es.com/material-matters/reg-start.aspx'&gt;here&lt;/a&gt;. &lt;/p&gt;&lt;p&gt;And we’ve also opened a new on-line bookshop featuring many titles that have been talked about on this podcast. You can find that &lt;a href='https://shop.materialmatters.design/'&gt;here&lt;/a&gt;.&lt;/p&gt;&lt;p&gt;&lt;a rel="payment" href="https://www.patreon.com/materialmatters?fan_landing=true"&gt;Support the show&lt;/a&gt;&lt;/p&gt;</description>

Bonnie Hvillum is a Danish designer and founder of Natural Material Studio, which, as the names suggests, makes its own materials using natural resources and various waste streams.  Working at the meeting point between material science, art and design, the studio creates products, installations, exhibitions and research projects, working with clients such as adidas, Calvin Klein, Noma, Dinesen, Copenhagen Contemporary and the Danish Architecture Centre.   Bonnie will also be part of...

Bonnie Hvillum on biomaterials and 'redefining wood'.

Simon Terry is the brand and marketing director, as well as owner (or as he prefers to describe himself, custodian), of the lamp company, Anglepoise, a product that has genuine claims to iconic status. Initially designed by George Carwardine in the 1930s and manufactured by Herbert Terry &amp; Sons, over the years, the product has been used by the likes of Queen Elizabeth II, David Lloyd George, Picasso, Roald Dahl and Barbara Hepworth to name just a few. More recently, Terry has collaborated with fashion figures such as Margaret Howell and Paul Smith, as well as writing a design manifesto which talks about the importance of durability and repair. Importantly, the company now offers a lifetime guarantee for all its products. Happily too, it will be showing prominently at this year’s Material Matters London – which runs from 17-20 September at Space House – celebrating the 90th anniversary of the 1227.In this episode we talk about: the pros and cons of running a family business; being ‘a small company with a big name’; how mistakes can lead to opportunities; his morning routine (which involves a spring); how the Anglepoise stays in perfect balance; the genius of George Carwardine; the product’s evolution; why the Terry family handed the US market to Luxo; joining the family firm and making huge changes; his background in movies; initially feeling out of his depth; working with the brilliant Sir Kenneth Grange to reinvigorate the brand; the importance of repair; wanting to support design’s grassroots; and why materials and systems are the company’s future. You pre-register for Material Matters London <a href='https://registration.iceni-es.com/material-matters/reg-start.aspx'>here</a>.<a rel="payment" href="https://www.patreon.com/materialmatters?fan_landing=true">Support the show</a>

<description>&lt;p&gt;Simon Terry is the brand and marketing director, as well as owner (or as he prefers to describe himself, custodian), of the lamp company, Anglepoise, a product that has genuine claims to iconic status. Initially designed by George Carwardine in the 1930s and manufactured by Herbert Terry &amp;amp; Sons, over the years, the product has been used by the likes of Queen Elizabeth II, David Lloyd George, Picasso, Roald Dahl and Barbara Hepworth to name just a few. &lt;/p&gt;&lt;p&gt;More recently, Terry has collaborated with fashion figures such as Margaret Howell and Paul Smith, as well as writing a design manifesto which talks about the importance of durability and repair. Importantly, the company now offers a lifetime guarantee for all its products. &lt;/p&gt;&lt;p&gt;Happily too, it will be showing prominently at this year’s Material Matters London – which runs from 17-20 September at Space House – celebrating the 90th anniversary of the 1227.&lt;/p&gt;&lt;p&gt;In this episode we talk about: the pros and cons of running a family business; being ‘a small company with a big name’; how mistakes can lead to opportunities; his morning routine (which involves a spring); how the Anglepoise stays in perfect balance; the genius of George Carwardine; the product’s evolution; why the Terry family handed the US market to Luxo; joining the family firm and making huge changes; his background in movies; initially feeling out of his depth; working with the brilliant Sir Kenneth Grange to reinvigorate the brand; the importance of repair; wanting to support design’s grassroots; and why materials and systems are the company’s future. &lt;/p&gt;&lt;p&gt;You pre-register for Material Matters London &lt;a href='https://registration.iceni-es.com/material-matters/reg-start.aspx'&gt;here&lt;/a&gt;.&lt;/p&gt;&lt;p&gt;&lt;a rel="payment" href="https://www.patreon.com/materialmatters?fan_landing=true"&gt;Support the show&lt;/a&gt;&lt;/p&gt;</description>

Simon Terry is the brand and marketing director, as well as owner (or as he prefers to describe himself, custodian), of the lamp company, Anglepoise, a product that has genuine claims to iconic status. Initially designed by George Carwardine in the 1930s and manufactured by Herbert Terry &amp; Sons, over the years, the product has been used by the likes of Queen Elizabeth II, David Lloyd George, Picasso, Roald Dahl and Barbara Hepworth to name just a few.  More recently, Terry has collab...

Anglepoise's Simon Terry on durability, repair and creating an icon.

In Material Matters, host Grant Gibson talks to a designer, maker, artist, architect, engineer, or scientist about a material or technique with which they’re intrinsically linked and discovers how it changed their lives and careers. Follow us on Instagram @materialmatters.design and our website www.materialmatters.design Material Matters is produced and published by Delizia Media Ltd.

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