20 Minutes With: Lighting and Furniture Designer Tom Dixon
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20 Minutes With: Lighting and Furniture Designer Tom Dixon

Wed, Aug 3, 2022Grey Clock 4 min

British designer Tom Dixon can’t be put into one box when it comes to product design. He is multi-talented, and widely recognised for his sci-fi lighting designs—many of which look like sculptures hanging from the ceiling—but that’s not where his talents end.

He also designs furniture, including lamps, chairs, and tables meant to brighten up drab interiors, often with a disco flair.

This year, Dixon celebrates 20 years of his namesake brand. Over the last two decades his brand has expanded to 90 countries, with showrooms in New York, Tokyo, and Hong Kong. The latest boutique opened in Beijing in 2020.

Dixon has won numerous awards, including the London Design Medal at the London Design Festival. In 2014, he received an Order of the British Empire from Her Majesty the Queen.

Dixon was born in 1959 in Sfax, Tunisia, as the son of an English teacher and a journalist for the BBC World Service. In 1972, he began studying art at Holland Park Comprehensive high school in London, specializing in pottery and life drawing, and in 1979, he began working creative odd jobs (one was painting at a cartoon film company, another was playing in a disco band called Funkapolitan).

The rise of punk in London at the time helped create space for the kind of freeform design ethos that Dixon adopted. It gave his generation “license to create—without certificates, university courses or parental approval,” he says. In 1983, he learned how to weld with the help of a friend who worked in an automotive shop. He made over 100 chairs by hand in his first year.

In 1986, Dixon designed the S-Chair, which became a hit with Italian manufacturers for its curvy, elegant design. “I have often been asked what the inspiration was behind the S-Chair, and, honestly, the only memory I have is of drawing a small doodle of a chicken and thinking that I could make a chair from it,” he laughs.

Today, Dixon’s studio is based in a 19th century factory called the Coal Office in King’s Cross. In June, he was the subject of a retrospective at the Salone del Mobile furniture fair in Milan this June.

From his second home on the south coast of England, Dixon, 63, spoke to Penta about his brand, fashion inspiration, and the future of sustainable design.

PENTA: Can you believe it has been 20 years?

Tom Dixon: I can’t believe it’s true. I’ve been doing this longer than 20 years, but it’s 20 years since this label. It’s ridiculous. When I started it, it was after working for Italian luxury companies, working in the corporate world at Habitat (which is the equivalent of Pottery Barn in the U.S.) as creative director, it was time for me to do my own thing again. I wanted to mimic how fashion designers operate—design but also take care of their distribution and communication, and they have their name over the door, too. As a rule, product designers typically work for other brands. I wanted to have a singular voice and hold my aesthetic ideas together under one roof.

What fashion designers have you looked up to?

I love the Japanese brands that came out of the 1980s, like Commes des Garcons and Issey Miyake, in terms of keeping a sense of integrity. I love Raf Simons’ own label, too. There are young English designers at the moment too, like Grace Wales Bonner.

Who are your design heroes?

I was fortunate to have met the living design legends of the 1950s and 1960s before they passed away. Designers like Ettore Sottsass, Achille Castiglioni, Verner Panton, and Enzo Mari, who for me really are amazing examples who really believed in design as a way of changing the world. It was postwar Europe. When I first started, I was mainly interested in sculpture and only learned about design after I fell into it.

What was Ettore Sottsass from the Memphis Group like?

Calm, friendly, and unassuming. He was great. There were also designers I was inspired to rebel against. I thought postmodernism was the ugliest thing, very pastel, geometric and patterned. Meanwhile I was making things out of rusty metal. I’ve grown to love the Memphis Group—Ettore was not only a prolific designer, but he organized a whole movement. He has that polymath attitude, like Buckminster Fuller or Isamu Noguchi.

What was your approach for The Manzoni (restaurant and showroom) in Milan? It’s like a concrete metal jungle with an abundance of lights.

It was an attempt to try to challenge the idea of having conventional showrooms. I’ve been interested in food for a long time, there’s a link between entertaining and design, in general. We managed to get our restaurant The Coal Office going well in King’s Cross, so we brought something to Italy.

My time in Italy was often tied around food, as meetings with manufacturers were based around lunchtime at their factory, many of which have canteens. I thought it would be better to spend the money on a restaurant with a small showroom attached. Rather than someone entering a design showroom every 20 years to buy a designer table, they might come every two weeks to have lunch and eat off our plates and drink from our glasses. It’s a way to engage people than to have a dusty old furniture store.

What’s next for you?

My core interest remains the same. I love manufacturing techniques, materials, whether it’s industry or craft, we have a close relationship with the people who make the pieces. We have to be conscious and aware of our impact on the planet.

There are a few experiments in thinking through what sustainability looks like for a furniture company and how we can be more thoughtful about what we put into the world. That’s what our future is rotating around. We have to constantly rethink what we’ve done and how to pave the way for the future.

What is your approach to sustainable design?

Sustainability isn’t a single thing, it’s a huge host of actions. The most sustainable thing would be not to make anything at all. There’s a seaside plant called eel grass, which is collected in Denmark to create roofing material, and we’re experimenting with it as an upholstery material. Like many other people, we’re experimenting with mycelium, a type of fungi to make furniture. We’re also doing a conceptual project where we’re growing chairs underwater.

Reprinted by permission of Penta. Copyright 2021 Dow Jones & Company. Inc. All Rights Reserved Worldwide. Original date of publication: Aug 1, 2022.


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By Robyn Willis
Fri, Aug 5, 2022 2 min

When people talk about making a seachange, chances are this is the kind of property on the NSW South Coast that they have in mind.

Open for inspection for the first time this Saturday, 24 Point Street Bulli offers rare absolute beachfront, with never-to-be-built-out north facing views of the ocean. Located on the tip of Sandon Point, this two-storey property is a surfer’s dream with one of Australia’s most iconic surf breaks just beyond the back wall.

On the lower floor at street level, there are three bedrooms and two bathrooms, including a family bathroom and an ensuite in the master suite. A fourth bedroom is on the upper floor, along with the main living area, and is serviced by its own bathroom. 

While this would make a spectacular holiday home, it is well equipped for day-to-day living, with a spacious gourmet kitchen and butler’s pantry set into the articulated open plan living area on the first floor. A separate media room to the street side of the property on this level provides additional living space. 

Every aspect of this property has been considered to take in the light and views, with high ceilings internally and spacious, north facing decks on both levels to take in views of rolling waves. If the pull of the ocean is irresistible, it’s just a 100m walk to feel the sand between your toes.

The house is complemented by a Mediterranean, coastal-style garden, while the garage has room for a workshop and two car spaces.

An easy walk to Bulli village, the property is a 20 minute drive from the major hub of Wollongong and just over an hour to Sydney.


Open: Saturday August 6 2pm-3pm Auction: Saturday September 3 Price guide: N/A but expected to exceed $5.3m paid in March for 1 Alroy Street 

Contact: McGrath Thirroul – Vanessa Denison-Pender, 0488 443 174