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Were you ex­cited to take on this pro­ject?

Yes, it was an es­pe­cially en­joy­able as­sign­ment for me be­cause a gar­den, in my opin­ion, is a small world but one that is filled with many el­e­ments. I didn’t want to cre­ate a mere il­lus­tra­tion of a gar­den. My chal­lenge was to come up with de­signs that feel like a gar­den – so you have the struc­ture and form of an English gar­den but, along with it, you can also see the way na­ture takes over. I wanted to por­tray the sense of vi­tal­ity and ran­dom­ness that come with all things or­ganic.

What was it like de­sign­ing on porce­lain?

It’s very dif­fer­ent from the usual can­vas I work with, but I be­lieve we have man­aged to use the fine and del­i­cate qual­ity of porce­lain to our ad­van­tage. The re­sult­ing de­signs feel soft and fluid, even when pre­sented on a ce­ramic base.

How long did the process take, from brief to ac­tual pro­duc­tion?

I think it was about 18 months ago that Benoit Pierre-Emery, cre­ative di­rec­tor of Ob­jets et La Ta­ble at Her­mes, ap­proached me with the idea. It was sum­mer­time and we were talk­ing about the gar­den con­cept while walk­ing through a gar­den. It took 20 rounds of pro­to­typ­ing be­fore we ended up with a ver­sion that pro­duced the right colours, tex­ture and look, but it was a valu­able learn­ing process.

What does lux­ury mean to you?

Lux­ury, to me, is be­ing able to en­joy the lit­tle things in life. It’s hav­ing cof­fee in the morn­ing, and hav­ing sunny days when you get to see your shadow on the ground (which is a rare oc­cur­rence in Ire­land where I am from, be­cause it’s always cloudy). Lux­ury is be­ing able to hang your laun­dry on a line and just tak­ing time to see the way it flut­ters in the wind. The true sense of lux­ury is to ap­pre­ci­ate some­thing, which I be­lieve any­one can; all you need to do is open your eyes.

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