Rufus is a world renowned Kiwi designer with an impressive, international portfolio of work. Rufus sets a high standard for all designers, his clean yet dynamic aesthetic draws us into the spaces he creates and gives insight to the future potential of New Zealand interiors.
How do you describe the design of 'Lonely' and what was your inspiration behind it?
Steve Ferguson and Helene Morris, Lonely Label founders and directors, approached me about creating a flagship for Lonely with a design direction that reflected the brand’s global outlook and to create a space which would align them with international shopping as they strengthen their global reach from a well-established online following.
I had been familiar with Lonely since its inception in 2004 and know well the photographers and many of the girls involved in campaigns so translating the candid and sincere images of Zara Mirkin, Petra Collins, or Harry Were felt intuitive. The feeling of a space that shared the same sentiments didn't need a lot of thought – it was as much about creating an atmosphere that spoke to the product as if it was a physical extension of this already confident identity. The Lonely brand spoke strongly to me about layers of intimacy so returning the focus to the customer, their experience, and the process of buying lingerie – in which confidence, privacy, and warmth are essential – was the aspiration. I wanted the space to say something romantic but in a modern vocabulary.
Material and texture were key in creating a space that would complement this direction. Conceptually I was interested in exploring an idea of what we referred to as 'soft industrial' – a dichotomy between robust materials that had a tactile or unexpected finish. This assemblage, combined with Lonely’s focus on follow-through and customer service, makes the space feel sophisticated without feeling unapproachable.
An important aspect of this project was Lonely being a vehicle to explore objects designed by women and interweave female design histories. This consideration was critical when thinking about how the store would look, feel, and function and the approach felt relevant and engaged and, if not wholly present in this first store, a concept that has been developed over time and an idea that can contribute and grow with the Lonely brand.
In terms of your design process, which parts do you find most challenging? And how do you overcome these?
The most challenging part of the design process is maintaining, a delivering, a consistent vision. Overcoming this is always the result of teamwork and commitment between the many hands that complete any architecture or design project. Specifically, in relation to the Lonely stores, we have worked closely with Fabricate Architecture and Property Direct Services as their commitment to delivery has been unwavering. Also, having clients who put trust and belief in that vision is so important – Lonely founders Steve and Helene have been instrumental in that regard.
Did you have a mentor anytime throughout your career who really helped you guided you to where you are today?
Absolutely. I have five key relationships that I would consider fundamental to any success I have had since I started my practice. I have never actively seeked a mentor but they have a way finding you which I think it comes down to showing that you value trust and are committed to your practice – most of these relationships grew out of project-based work which, to me, gives the mentorship a sense of confidence and authenticity. The shape mentorship can take is also interesting as sometimes it requires some astuteness to recognize the value in their advice – especially if they’re from a different industry or background to the one in which you practice.
What is your favourite project you've ever worked on and why?
I’m not sure if I could single out a favourite as there are aspects of each project which allowed me to grow. In terms of fulfilment I think the Lonely Newmarket store has been the most rewarding. It was conceptually and technically ambitious but managed to deliver on almost every aspect of the design I put forward – from the finish and tone of the plaster to the specially commissioned Kate Newby door hardware. Although, strangely, it ‘looks’ nothing like what I had imaged but ‘feels’ exactly how I thought it would.
How would you describe New Zealand's design culture? And what are your thoughts on how it is evolving?
I’m passionate about New Zealand’s design histories and, over the last two years, have been privileged to be part of discussions about who we are as a design community, where we come from, and what our emerging creative language is.
Central to this has been New Zealand’s rich cultural diversity and indigenous craft as a foundation for how we express ourselves across design and artistic disciplines. Our design culture has evolved from our relationship to mark-making and the graphic and harsh and flattening quality of light in New Zealand.
From the pattern languages formed by our indigenous cultures to the Modernist interpretation of these and our exploration of Nationalism in painting and the applied arts during the mid-century, there is an emerging design vernacular where the concepts of preservation and evolution are of equal importance. As New Zealand design moves further into global design discourse, establishing an understanding of what makes creative practice from this country unique is paramount to not only success but also significance and authenticity.
Who is your favourite NZ designer and why?
Alt Group. The Auckland-based design studio, led by Dean Poole and Ben Corban, are world-recognized brand strategists and designers who have, and continue to, shift New Zealand’s design and artistic communities at a tectonic level while influencing and connecting design practice in this country to wider bodies of thought.
And finally, do you have any advice for designers struggling to break into the business?
I think receptiveness is an important trait for young designers. Being open to opportunities, the ability to measure risk, and identifying long-term potential is critical to professional development. The broader your experience the more confidently you can understand where you can add value to your design practice and your design community. Also, Mark Elmore (GM Design at Fisher & Paykal) once said to me ‘fail fast’ – which I think was exceptional advice and something I think about – and practice – a lot.
All imagery is credited to Photographer Simon Wilson. For more inspiration and information on design services please visit Knight Associates. You can also view Rufus's Instagram here.
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