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Then x Ten interview: Fabio Ongarato

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Fabio Ongarato
is based in Melbourne, where he runs his own design studio and has a portfolio of work with many high-profile clients from the architectural, fashion and retail worlds. The studio’s work spans brand/identity design, publishing, art direction and placemaking. We worked with
Fabio Ongarato Design (FOD) to execute and curate our new series of posters commissioned for our Then x Ten exhibition, which runs from August 14 – 25 in Melbourne. Fabio has kindly shared below some of his project and thoughts on design below.
Fabio Ongarato Design has a fantastic reputation and you’ve worked with some very well known brands and companies.  Can you tell us about the studio and what your approach to design is?
Having started 20 years ago in Melbourne Australia, we have established a multi-disciplinary studio working across a diverse client base from corporate, fashion, retail and architecture. Our diverse design team is united in the view that design, like art, must seek to emotionally connect through experiences that engage .

We believe design is about a drawing a broader cultural connection and engagement with people, regardless of medium, therefore our business drives an emotional and intellectual discourse. We see our designers having multiple roles – what we call wearing many hats: Designers, Editors, Curators, Art Directors and Craftsman. This approach stems from the belief that a designer must be immersed in and informed by all aspects of culture, not just design.


Describe a typical day in the office?
Think, observe, discuss, research, question, learn, debate, create, design and experience.
But underlying this is a sense of engagement, challenge and fun.

What element of design could you not live without?
Definitely Collaboration. I find that after 20 years in this business I get a lot of influence from my fellow collaborators from designers, artists, architects, curators, musicians to writers. They make my life and design a lot richer and exciting.


What have been your most rewarding achievements?
Reaching 20 years is probably my biggest milestone.

How did you feel when first approached by Herman Miller to work on a brand campaign for them?
I’m excited to be part of an ever evolving design dynasty – the Eames were a main source of inspiration when we started our career and their approach to design informed our studio.

Also, this campaign gave us the chance to turn what was envisioned to be a traditional brand campaign targeted at designers into a collaborative experience. To know that the outcome was something that had resounding connection and to some degree  – a legacy. A standard print campaign passes quickly.


Then x Ten is a fantastic concept. What led you to this idea?
When conceiving a brand campaign for Herman Miller, FOD looked to the past to shape the future. Inspired by the poster designs created for Herman Miller by Armin Hofmann in the 50’s - we imagined what would the modern version look like and who would be invited to participate today? The rationale to this was to commission and curate an exhibition that combines the past and the present as one. This concept seeks to create a campaign that echoes elements of the past – brought into the present day. Continuing a commitment to design and collaboration through the art of the poster.


How did you work with the posters from the past in the design of the exhibition?
I wanted them to have equal value – a mirror reflection of past and present. By reviving the past through the art of the poster, we aim to create x10 iconic images that today are upheld to have the same intrinsic value as the posters of old.
The commissioning of contemporary image makers give us a contemporary view of Herman Miller today. And with the posters of old, reconnected with people that might have forgotten their value. As it happens, the greatest value comes from the fact that Steve Frykholm, one of the most famous Herman Miller Poster Designers has helped us curate the past images.


Choosing only 10 image-makers from around the world to participate must have been challenging,  how were the artists chosen?
It is often a difficult process in getting the mix right – and ensuring that the we could find the right collaborators that would respond intelligently – but at the same time getting the right representation across, Australia, Asia and Europe.

Having seen the final artwork for all, what are your thoughts on them as a collection?
What I wanted was for each artist to be themselves,  keep it intuitive, conceptual and what came naturally – an emotional response. When you view the series as a whole you will see each is distinct and unique, and glad to say representative of their own personal perspective.
Do you have a personal favourite?
The Eames Lounge Chair and Ottoman poster by the artists Mrzyk  & Moriceau from Paris has become one of my favourites – created as simple black and white drawing, the poster depicts amorphous figures stacked on top of each other sandwiched  between two lounge chairs – it’s daring, surreal, absurd, humorous, sexualised but most of all very memorable – a must see. Another memorable poster is the pairing of two icons that defined 60’s pop art – Keiichi Tanaami from Japan with his vivid dream-scape depiction of the Marshmallow Sofa.


What is your favourite Herman Miller product?
I would have to say the Eames Molded Plywood Lounge Chair (LCW). For me this chair is a modern masterpiece – a symbol of innovation, beauty and practicality.

Posted by Lauren Evans


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