Interview / MAKE ME show
With Margriet Vollenberg (Organisation in Design)
How did Organisation in Design (OiD) come about?
I graduated from the Design Academy Eindhoven in 2000. After that I immediately left for Milan where I worked as a designer for the Italian jewellery brand Pellini. While there I noticed that my heart was not so much in designing as in organising. After five years I returned to the Netherlands where I founded Organisation in Design. Margo Konings graduated from the Design Academy in 2006. It was after her internship with Tord Boontje that we first met in Milan during the Salone del Mobile and then in Tokyo, where we realized that we had a similar approach to business. So in 2007 we became partners.
How did Organisation in Design (OiD) come about?
I graduated from the Design Academy Eindhoven in 2000. After that I immediately left for Milan where I worked as a designer for the Italian jewellery brand Pellini. While there I noticed that my heart was not so much in designing as in organising. After five years I returned to the Netherlands where I founded Organisation in Design. Margo Konings graduated from the Design Academy in 2006. It was after her internship with Tord Boontje that we first met in Milan during the Salone del Mobile and then in Tokyo, where we realized that we had a similar approach to business. So in 2007 we became partners.
What does OiD do?
We gave a lot of thought to the foundation of OiD. We want to be able to explain it in a couple of sentences. There are three clusters: PR, projects, and a business section. Everyday communication is our main activity. All e-mails and phone calls for press requests, photo shoots, studio visits, etc. go through us, not the designers. Once in a while we will represent them at an event. Besides that we also organise projects, both our own and projects for our designers so that they only have to worry about the artistic aspect.
We gave a lot of thought to the foundation of OiD. We want to be able to explain it in a couple of sentences. There are three clusters: PR, projects, and a business section. Everyday communication is our main activity. All e-mails and phone calls for press requests, photo shoots, studio visits, etc. go through us, not the designers. Once in a while we will represent them at an event. Besides that we also organise projects, both our own and projects for our designers so that they only have to worry about the artistic aspect.
What about the business side of things?
OiD only helps with the business side of things if we already know the designer or the studio and something arises which they cannot deal with themselves. As an office we then intervene between the designer and the third party and ensure that a deal is reached. In some cases this can happen on a ‘no cure, no pay’ basis. In the past we sometimes turned the tables and asked designers what they had on their wishlist. For instance, Kiki van Eijk had a collaboration with Hermès at the top of her list. As OiD we had already worked with Hermès, which meant that we could approach the company directly. This ultimately resulted in Kiki working on various projects for Hermès.
OiD only helps with the business side of things if we already know the designer or the studio and something arises which they cannot deal with themselves. As an office we then intervene between the designer and the third party and ensure that a deal is reached. In some cases this can happen on a ‘no cure, no pay’ basis. In the past we sometimes turned the tables and asked designers what they had on their wishlist. For instance, Kiki van Eijk had a collaboration with Hermès at the top of her list. As OiD we had already worked with Hermès, which meant that we could approach the company directly. This ultimately resulted in Kiki working on various projects for Hermès.
Who wants to collaborate with OiD?
I set up OiD because I noticed important shortages at the communication and business levels in design studios. I was stunned by the many mistakes being made. In fact, designers often do not have a clue when it comes to business, so with OiD we can offer them a helping hand. But we do not do any canvassing, we almost never approach anyone ourselves. The demand for collaboration almost always comes from designers. In the beginning we mainly worked for friends, but that dried up at a certain point. Today one client leads to the next. To be able to work together we have to feel a certain affinity with the designer and that we can back their practice. The collaboration has to occur naturally. That means we also turn down people. That is annoying, because one way or another you bump into them again somewhere in this small world.
I set up OiD because I noticed important shortages at the communication and business levels in design studios. I was stunned by the many mistakes being made. In fact, designers often do not have a clue when it comes to business, so with OiD we can offer them a helping hand. But we do not do any canvassing, we almost never approach anyone ourselves. The demand for collaboration almost always comes from designers. In the beginning we mainly worked for friends, but that dried up at a certain point. Today one client leads to the next. To be able to work together we have to feel a certain affinity with the designer and that we can back their practice. The collaboration has to occur naturally. That means we also turn down people. That is annoying, because one way or another you bump into them again somewhere in this small world.
Do you also work with newly graduated designers?
Yes, we love working with enthusiastic people. Working with companies that know what they want is great, but it is also fun to work with young people who are often more hesitant and who are therefore open to a lot of advice.
Yes, we love working with enthusiastic people. Working with companies that know what they want is great, but it is also fun to work with young people who are often more hesitant and who are therefore open to a lot of advice.
How do young people finance that?
We adapt our fees for this. OiD ultimately has to make a profit, but we also look at what that person can mean to our company in the future. It remains an investment for young people. We once helped a young designer with a subsidy application, for instance, by going over and improving the texts outlining his concept.
We adapt our fees for this. OiD ultimately has to make a profit, but we also look at what that person can mean to our company in the future. It remains an investment for young people. We once helped a young designer with a subsidy application, for instance, by going over and improving the texts outlining his concept.
Are there essential things you should not do on a business or communication level?
You first have to think about what you want. Do you want to set up a studio or work in a studio? I find that working for yourself immediately is often a source of problems. Designers become freelance entrepreneurs at a moment when they are not yet ready for it. They have to deal with pricing, contracts and so forth. I find it better to start working in a studio, otherwise it feels like you have to reinvent everything yourself. A lot of people now start up something in collaboration, although I do not think that that is really a solution either. It is as regards space and rent, but classroom knowledge alone is not enough to start your own company.
You first have to think about what you want. Do you want to set up a studio or work in a studio? I find that working for yourself immediately is often a source of problems. Designers become freelance entrepreneurs at a moment when they are not yet ready for it. They have to deal with pricing, contracts and so forth. I find it better to start working in a studio, otherwise it feels like you have to reinvent everything yourself. A lot of people now start up something in collaboration, although I do not think that that is really a solution either. It is as regards space and rent, but classroom knowledge alone is not enough to start your own company.
A jewellery designer has a different, more individual approach than a designer, whether in a design studio or not …
Is that so? There are a lot of studios where you could go and work. I myself learned a lot from my work at Pellini, for instance about the design process and the creation of collections, from the early beginnings to the end.
Is that so? There are a lot of studios where you could go and work. I myself learned a lot from my work at Pellini, for instance about the design process and the creation of collections, from the early beginnings to the end.
How does the collaboration unfold between OiD and a designer?
We generally begin by establishing an annual plan and we look at the activities a designer has lined up: the fairs they are attending, the exhibitions or fashion weeks they are participating in, etc. We check whether there is any coherence to all this and whether there is an interesting cluster or whether something is missing. The objectives a studio sets itself are determining for the communication. What a designer wishes to achieve – and that can be all sorts of things – determine the communication.
We generally begin by establishing an annual plan and we look at the activities a designer has lined up: the fairs they are attending, the exhibitions or fashion weeks they are participating in, etc. We check whether there is any coherence to all this and whether there is an interesting cluster or whether something is missing. The objectives a studio sets itself are determining for the communication. What a designer wishes to achieve – and that can be all sorts of things – determine the communication.
What does a designer need to get attention?
A good network of journalists and an extensive contact list. OiD has a network of 6,000 active journalists. Our contact list consists of 20,000 people. Not everyone can have that, of course, but for a lot of designers taking part in a fair can already be a good help. You can give your card to journalists attending these fairs. That still is not enough, however, and even a newsletter is not enough. What is most important is staying in personal contact with journalists; you have to know what they are doing. OiD has contacts on various editorial boards which we often see, call or text. A successful collaboration which has led to a publication always yields longer contacts. In addition we also know the editorial calendars of the leading international reviews so we can anticipate their schedules.
A good network of journalists and an extensive contact list. OiD has a network of 6,000 active journalists. Our contact list consists of 20,000 people. Not everyone can have that, of course, but for a lot of designers taking part in a fair can already be a good help. You can give your card to journalists attending these fairs. That still is not enough, however, and even a newsletter is not enough. What is most important is staying in personal contact with journalists; you have to know what they are doing. OiD has contacts on various editorial boards which we often see, call or text. A successful collaboration which has led to a publication always yields longer contacts. In addition we also know the editorial calendars of the leading international reviews so we can anticipate their schedules.
If, as a young designer, you want to do the communication yourself, how do you go about it?
When a designer starts talking about his work, it is often too long. You have to be able to talk about it concisely and to give the journalist the chance to become curious. You also have to make sure that your text says what you want to say. A press text has to be addressed to a client, but it must also suit you. Have someone else look at it, especially if you are a beginner. Try out your story too. It is generally very clear for yourself, but that is not always the case for an outsider. And do not be afraid to put your story out there and to approach the editorial board of a magazine, a newspaper or a blog directly.
When a designer starts talking about his work, it is often too long. You have to be able to talk about it concisely and to give the journalist the chance to become curious. You also have to make sure that your text says what you want to say. A press text has to be addressed to a client, but it must also suit you. Have someone else look at it, especially if you are a beginner. Try out your story too. It is generally very clear for yourself, but that is not always the case for an outsider. And do not be afraid to put your story out there and to approach the editorial board of a magazine, a newspaper or a blog directly.
What should I do if I want a model to wear my jewellery in a magazine during a photo shoot?
That is not easy, but sometimes you just have to do things. First call the editorial board and enquire about who you need to contact. Be short and concise; there is no need yet to explain who you are. That will get you the right e-mail address. Include the name of the person who gave you the address in your e-mail. Be professional. Tell them it can be interesting for them and mention that you will call them later. Use the right tricks!
That is not easy, but sometimes you just have to do things. First call the editorial board and enquire about who you need to contact. Be short and concise; there is no need yet to explain who you are. That will get you the right e-mail address. Include the name of the person who gave you the address in your e-mail. Be professional. Tell them it can be interesting for them and mention that you will call them later. Use the right tricks!
What kind of photos should you include?
Make sure it is a photo in which the product can easily be cut out. This will often be used for the shopping pages in magazines and these pages are often put together at the last minute under stress. Do not expect to be informed if your work is included. Besides a product photo, good photos depend on your subject. For a piece of jewellery you will probably photograph the work on a model and perhaps also in an environment. If there is any interest in using your work in a shoot, the magazine itself will take photographs. Make sure everything is well organised if you lend out your work: loan agreement, insurance, transport, etc. For instance, always let them take care of transport. You do not have to ask about that explicitly during the meeting, but mention it by saying, ‘This is where it can be picked up’. Teach yourself to get this right from the start!
Make sure it is a photo in which the product can easily be cut out. This will often be used for the shopping pages in magazines and these pages are often put together at the last minute under stress. Do not expect to be informed if your work is included. Besides a product photo, good photos depend on your subject. For a piece of jewellery you will probably photograph the work on a model and perhaps also in an environment. If there is any interest in using your work in a shoot, the magazine itself will take photographs. Make sure everything is well organised if you lend out your work: loan agreement, insurance, transport, etc. For instance, always let them take care of transport. You do not have to ask about that explicitly during the meeting, but mention it by saying, ‘This is where it can be picked up’. Teach yourself to get this right from the start!
When do studios start a collaboration with OiD?
A designer or a studio will often pay us a visit when they can no longer manage or when they are stuck. They may know how things work, but they keep encountering the same problems. First and foremost we plan a foundation course. We take the time to organise photographs, texts and specifications. In any case that is always the first thing you need to do! Make sure also that your CV and biography are in order and that you have a good portrait. When you get a request you can send all that through immediately. You can send this information to the journalist in a personal e-mail or make it downloadable via a link on your website. The latter is the quickest way, but you then lose the direct contact. That does not work for us.
A designer or a studio will often pay us a visit when they can no longer manage or when they are stuck. They may know how things work, but they keep encountering the same problems. First and foremost we plan a foundation course. We take the time to organise photographs, texts and specifications. In any case that is always the first thing you need to do! Make sure also that your CV and biography are in order and that you have a good portrait. When you get a request you can send all that through immediately. You can send this information to the journalist in a personal e-mail or make it downloadable via a link on your website. The latter is the quickest way, but you then lose the direct contact. That does not work for us.
Do you have any other concrete tips?
In every magazine you will find a colophon with information on the editorial board. To build up a network you can start concretely with ten contacts and then build up your network. Make sure also that all your texts are in correct English. Journalism involves a lot of copy-paste so the writing has to be accurate and clear. The internet is also an increasingly important player. It is a newer but also a much faster market. You have to be careful because if you want to be published you have to make sure that it has not yet been shown online. Newspapers want the exclusivity. And they need to be given time to work on an article. You can count on two months. At OiD we seek a balance as to how we can mobilise the various media.
In every magazine you will find a colophon with information on the editorial board. To build up a network you can start concretely with ten contacts and then build up your network. Make sure also that all your texts are in correct English. Journalism involves a lot of copy-paste so the writing has to be accurate and clear. The internet is also an increasingly important player. It is a newer but also a much faster market. You have to be careful because if you want to be published you have to make sure that it has not yet been shown online. Newspapers want the exclusivity. And they need to be given time to work on an article. You can count on two months. At OiD we seek a balance as to how we can mobilise the various media.
Can you tell us more about what the press publishes? How do you rouse their interest?
Sometimes it is the packaging that does the trick and how you present something, but we believe that a good story has a better chance of succeeding. For this we use information which we think is worth publishing – because it has aesthetic value, is a good concept or involves an interesting collaboration. Anything goes, in fact, but whatever you put first, you have to let it depend on who commissioned you. Offering something extra, like an interview, also works well.
Sometimes it is the packaging that does the trick and how you present something, but we believe that a good story has a better chance of succeeding. For this we use information which we think is worth publishing – because it has aesthetic value, is a good concept or involves an interesting collaboration. Anything goes, in fact, but whatever you put first, you have to let it depend on who commissioned you. Offering something extra, like an interview, also works well.
Are the media a source of income?
People have to know your name – or rather, they have to know your work. So not the name, but the work. PR through the media is one way of getting better known. But if you really want to get a project, you still have to be present at fairs. The media alone are not enough; your work also has to be visible. It can be a fair, as in Milan, where you can meet the right people for product design or production. Go there once and look around, and even then you will already meet people. On top of that it is also important to show yourself on a regular basis. You often meet people in the strangest places and that is where the deals are made, rarely through the usual channels.
People have to know your name – or rather, they have to know your work. So not the name, but the work. PR through the media is one way of getting better known. But if you really want to get a project, you still have to be present at fairs. The media alone are not enough; your work also has to be visible. It can be a fair, as in Milan, where you can meet the right people for product design or production. Go there once and look around, and even then you will already meet people. On top of that it is also important to show yourself on a regular basis. You often meet people in the strangest places and that is where the deals are made, rarely through the usual channels.
Is that why you also organise fairs?
Indeed, OiD wants to offer a helping hand. PR and projects are often where we see shortages, although they can play on one another very well. We can promote designers with our clients at fairs and during our own projects.
Indeed, OiD wants to offer a helping hand. PR and projects are often where we see shortages, although they can play on one another very well. We can promote designers with our clients at fairs and during our own projects.
What do you base the selection on?
That depends on who we are working for. For Ventura Lambrate, which we organise ourselves, we want a balance between young, conceptual, poetic and commercial designers. With this combination participating designers get a lot out of one another and there is a good exchange. In any case we will never select work which we feel we cannot either promote or communicate.
That depends on who we are working for. For Ventura Lambrate, which we organise ourselves, we want a balance between young, conceptual, poetic and commercial designers. With this combination participating designers get a lot out of one another and there is a good exchange. In any case we will never select work which we feel we cannot either promote or communicate.
Do you also help with the presentation?
If we organise something we certainly do. We sometimes have to accompany young, less experienced designers in the way they present their work, because they almost always want to show too much at once. You have to present various parts as separate items: a presentation is a presentation, a catalogue is something else. Get out your iPad with your digital portfolio if you get into a conversation with someone.
If we organise something we certainly do. We sometimes have to accompany young, less experienced designers in the way they present their work, because they almost always want to show too much at once. You have to present various parts as separate items: a presentation is a presentation, a catalogue is something else. Get out your iPad with your digital portfolio if you get into a conversation with someone.
So it is important to select work according to the fair?
Presentation really is half the sale, so I think that artistic presentation choices can be influenced by a commercial element. There is nothing wrong with that. You can also explore other ways of presentation. Let a photographer you would like to collaborate with get to work on your portfolio. Do not think you need to be able to do everything yourself, but look for expert help.
Presentation really is half the sale, so I think that artistic presentation choices can be influenced by a commercial element. There is nothing wrong with that. You can also explore other ways of presentation. Let a photographer you would like to collaborate with get to work on your portfolio. Do not think you need to be able to do everything yourself, but look for expert help.
How would you promote artistry?
I wonder whether there is a formula for that. OiD is not part of the art scene, so I doubt whether we can promote an artist. I think you then rather need to be represented by an art gallery. We always ask what the goal of the studio is, what the designer wants to achieve. That tells us how to adapt our PR. If an artist – or a designer – wants to achieve a goal in the gallery world, then that is where they should go. Perhaps some things, like what you are looking for, do not exist yet.
I wonder whether there is a formula for that. OiD is not part of the art scene, so I doubt whether we can promote an artist. I think you then rather need to be represented by an art gallery. We always ask what the goal of the studio is, what the designer wants to achieve. That tells us how to adapt our PR. If an artist – or a designer – wants to achieve a goal in the gallery world, then that is where they should go. Perhaps some things, like what you are looking for, do not exist yet.
You take care of Ted Noten’s PR, currently one of the most famous jewellery designers.
With Atelier Ted Noten it was about a mindset. It was Ted’s goal to enter the design world, because he had reached his limits in the jewellery world. But in interviews with him nothing indicated that broader goal yet. You have to express how you want people to see you. If, for instance, you want to collaborate with fashion designers, then say so!
With Atelier Ted Noten it was about a mindset. It was Ted’s goal to enter the design world, because he had reached his limits in the jewellery world. But in interviews with him nothing indicated that broader goal yet. You have to express how you want people to see you. If, for instance, you want to collaborate with fashion designers, then say so!
I also get the feeling that Ted Noten has adapted his work…
The work of Atelier Ted Noten has changed because his goal has changed. Being represented by a gallery in Miami has given him a stage on the international design market. PR cannot do everything. Ted had a whole lot of goals and some of those failed. We understood his goals, but if something has not succeeded, or not yet, that has to do with contacts – they stop somewhere.
The work of Atelier Ted Noten has changed because his goal has changed. Being represented by a gallery in Miami has given him a stage on the international design market. PR cannot do everything. Ted had a whole lot of goals and some of those failed. We understood his goals, but if something has not succeeded, or not yet, that has to do with contacts – they stop somewhere.
If I do want to be in a particular gallery, what do I have to do?
We like to get straight to the point so in this case we would approach this particular venue very concretely. If there is no direct line, we are going to think about how we can make it there. It can happen very indirectly, but in the end you still have to go straight one time, so why not directly.
We like to get straight to the point so in this case we would approach this particular venue very concretely. If there is no direct line, we are going to think about how we can make it there. It can happen very indirectly, but in the end you still have to go straight one time, so why not directly.