Interview with Roddy Clarke
by Lucy Swift
Cluster Crafts welcomes Roddy Clarke in an interview with Cluster Crafts Curator, Lucy Swift. Freelance journalist for Forbes, The Financial Times and The Daily Telegraph, Roddy highlights matters surrounding sustainability and design transparency across the interior and wider design community. Hear from Roddy as he unfolds some key insights into the realm of journalism with reference to Design Can and The Heritage Craft Association we also speak with Cluster Crafts exhibitor and sustainable designer, Sarmite Polakova on the impact of Covid-19 on her practice.
As a contributor for Forbes Life and the Financial Times Weekend, although both magazines are online based; have you felt any ‘shift’ during the crisis of covid-19 out of the office and into the home environment? Topically, how has the magazines’ discussion shifted during this time?
For myself, my working situation has not really changed with lockdown as I always work from home albeit I do miss working in cafes and community spaces! The publications I work with adapted quickly to ensure content creation could still continue. I think this has led to a shift within the industry as to topics which need to be discussed and helps us examine deeper the purpose behind each story.
You took part recently in Design Dialogues, a networking platform for those in the design community. Do you think online discussions such as that pave the way in the development of the designers network? Has this time sparked any further engaging conversations for you?
I do believe that we have to adapt as an industry and digital conversations will become an integral part of the creative community going forward. I feel that many may not regard the digital sphere with such importance but, with the new generation coming forward, its presence will only increase. I think it is encouraging us to rethink habits of the past and makes us realise that perhaps doing things differently isn’t such a daunting prospect after all!
Roddy Clarke | Photo Credit: Alishia Love
BOW Q - Credit - Natale Towell
How has the lockdown period altered the social aspects surrounding journalism and how have you found the adjustment of physical events moving online?
As a freelance journalist I love attending physical events as this is often one of my only points of contact with colleagues and those I work alongside in the industry. I won’t lie in the early stages of lockdown I really struggled with this but have now learnt to adapt thanks to video conferencing. I can’t wait to start seeing people again though – whenever that may be!
Custer Crafts Exhibitor Elsur Design | SEE MORE HERE
Do you have any creative platforms or designers to mind that you would recommend that are paving new ways in design? Have you seen any good examples of how creatives can stay motivated?
As mentioned above DesignCan are bringing to our attention the lack of diversity within the industry and I would urge readers to engage with the platform and help the UK’s creative community to be fully inclusive. Other ways for creatives to stay motivated would be to actively engage in industry conversations to keep your mind open to what is taking place across the community. While paid work may be hard to come by currently, look at connecting with brands you admire and explore collaboration opportunities. Now is a time for change so be bold, courageous, challenging and confident with your ideas! As creatives, we have direct input into what the new normal could be.
You previously chaired discussions at London Design Festival. Physical events such as this in the near future are held at a standstill at the moment. In this time when events have been postponed, how have you found alternate ways to communicate with your audience and keep them engaged?
I do feel that with a digital audience it can often be more daunting to engage them as the commitment to be present within in a conversation can often be less. However, I do feel that we are adapting well to new formats and conversations have become more involved as the lockdown has continued. I think collaboration is often key to ensure wider audiences can be engaged across digital platforms and presenting a discussion or structure which is unique and stands out amongst the plethora of digital content which has emerged.
Craft, sustainability and emerging designers at Paris' Maison & Objet | Via Icon Eye
l' estore-23 - Credit - Julian Victoria
How do you use your voice as a journalist within the design industry for the greater good, both in sustainability and the design community as a whole?
As journalists we have a responsibility to act as well as discuss crucial topics. Alongside my journalism, I consult and engage in a variety of projects which implement and act upon the conversations I discuss within my written work. Not only does this give me a greater insight into such topics, it also allows me to engage and explore solutions with a wider audience which I find exciting and complementary to my work as a journalist.
Your focus within journalism is predominantly around topics of sustainability. Looking outwards towards journalism as a whole, what key aspects of a project do journalists pick up on when scouting for new stories? What captivates you when exploring new work?
For me, as a sustainable design journalist, I come across a vast range of stories each week especially with many brands desperately trying to add it onto their business model as a marketing ploy. However, it’s about digging deeper underneath the surface and discovering which efforts are truly genuine and challenging those which have a commercial purpose in mind. The true purpose behind a project is what captivates me, and these can often be hard to come by in a world of vague marketing! I find the best stories come from brands where sustainability is inherent within the brands identity rather than something the team is trying to force into the narrative.
PineSkins Rug Detail | Visit Sarmite Polakova’s profile
As we hear from Roddy and the Heritage Craft Association on the extinction of potential craft practices, we catch up with sustainable designer and Cluster Crafts exhibitor Sarmite Polakova on the impact Covid-19 has had on her practice.
It would be great to hear your comments on how Covid-19 has perhaps disrupted your practice, or any changes you have made during this time? What alterations and inspiration have you come across?
Covid-19 for sure influenced my work. From cancelled and postponed exhibitions to reduced inquiries to limited possibilities to harvest bark this year. However, I looked to the bright side and put all that free time into creation, research, rethinking my own practice as a designer and kick starting new projects. Even though it seemed frustrating at the beginning all unknown aspects, right now I am quite happy I reacted to the change this way.
We’d love to hear a bit further about your involvement with The Heritage Craft Association as we speak with a few Cluster Crafts Exhibitors on the adaptations of their studio practice in this time. How did you find this conversation and what key points were raised?
The Heritage Craft Association is doing great work in highlighting crafts which are undervalued and those at risk of extinction. With my passion to revive the restoration industry, our values align as they seek to elevate the profiles of individual artisans and bringing them to a wider audience. Education is key in such areas and bringing back the importance of physical crafts at a young age is crucial in maintaining them going forward. Making courses more accessible to all communities must become a priority to create a more diverse and inclusive craft community going forward.
How can creatives and designers engage the mind of a journalist and have their work / story picked up on?
It’s all about conversation and a genuine passion for what you do which inspires us as journalists. It’s about engaging with the journalist on a more personal level and discovering what interests they may have in their own work and finding a relevant connection. This way a good relationship can be established going forward.
Lastly, what are the top pieces of artwork within your home and why?
My favourite piece of artwork is a small oil painting I found in a small antiques store in North Yorkshire. I love the pastel colours used within the piece and I am still investigating the history behind it!