This month, we sit down with Melbourne-based designer Zachary Frankel in his showroom, Hotel House, to discuss his intuitive approach to furniture making and the creative journey that shaped his practice. From early experiments in silversmithing to developing pieces with salvaged materials, Zachary shares how curiosity and hands-on exploration drive his work. In this conversation, he reflects on sustainability, personal style and the evolving intersections between craft and design.
Zachary, can you introduce yourself.
I’m Zachary Frankel, a designer based in Melbourne.
If you had to describe yourself in three words, what would they be?
Curious, intuitive, restless.
Your design philosophy emphasises intuition and experimentation. Can you share how this approach manifests in your work?
I often don’t start with a resolved drawing. I’d rather get into the workshop, try things, make mistakes, experiment with a material, technique or motif. I often make samples so I can see what part of it looks like. In sculpture I sometimes make maquettes. It’s a way of getting past ‘writer’s block’, just getting moving and indulging curiosity. Probably more akin to an artist.
Is there a project or piece that marked a turning point for you creatively?
I quit my job in 2019 to explore my own ideas. I gave myself 6–9 months early on to develop a portfolio of work, and that freedom mixed with some pent-up need to get my own ideas out of my head led to the development of my practice. So I guess I would say that period was the biggest shift.
Did your background in silversmithing influence your transition into furniture design?
It probably did, but not in the way you might think. I didn’t really ever take to silversmithing. I liked some of the making part, but the design work didn’t feel natural and I hated sitting by myself at a bench, it felt isolating. Furniture was appealing because it was more physical and the pieces more utilitarian. I’d like to go back to it at some point and integrate it into my practice when it feels right. I do, however, use the metalworking skills on a regular basis.
Sustainability is a recurring theme in your projects. Can you discuss how you incorporate eco-conscious practices into your designs?
I try. I often work with salvaged timber. A mentor of mine, Alastair Boel, salvages logs that have been brought down or come down naturally, mills them, air-dries them, and sells the timber. I try to convince clients to use it when I can. All my Flute and Fold Stools utilise salvaged cypress pine and the bases are recycled plastic. I had an exhibition called Tessellate where I used recycled plastic sheet that was made from Australian waste. There is such an abundance of material that is sustainable that doesn’t get used. It’s a waste, and I try, but sometimes projects call for virgin material, so it’s a balance.
You describe yourself as “restless.” How do you feel once a piece is finished?
Sometimes I'm over it before I've even finished it but I usually allow myself a little mental pat on the back but then quickly move on. Mainly because I've spent a while designing, problem solving and making and I'm often thinking about the next project before I've finished the current one. I also have high expectations of myself. I think it's a blessing and a curse. I don't get to enjoy many milestones for long but it also propels me forward.
How does your design sensibility influence the way you dress? Would you say your wardrobe reflects the same principles or values you apply in your creative work?
Probably not. My dress sense is pretty simple, whereas my work is probably more eclectic/eccentric. I do mostly wear natural fibres, so maybe there’s a connection there.
What’s one unconventional material you’ve experimented with that surprised you. Either in how it behaved or what it added to your work?
I don't know if I've worked with many 'unconventional' materials. I've worked with a wide range of materials including fabric, timbers, different stones, plaster, various metals, plastics and a number of surface treatments but none that I would consider extraordinary. I would say that I am fascinated by materials and experimenting with different materials is a large motivating force in my work.
You often work with timber that has a lot of character, i.e. knots, grain and imperfections that tell a story. Do you find a similar value in well-worn clothing, like a favourite pair of pants that has developed its own history over time?
I op-shop and buy second-hand and try to look after my clothes. My worn-in clothes tend to migrate to the work clothes section of the wardrobe. So there’s a cycle there.
Is there a piece of clothing you wear while working in the studio that feels essential?
Jeans are a general go-to. A good thermal top in winter and lightweight shorts in summer. Work boots. Not the big space-boot ones, but simple, comfortable boots are essential. I’m standing on concrete all day and my feet get sore and cold in winter if I don’t wear something sensible.
What materials or cuts do you naturally gravitate towards in your wardrobe? Are there any fabrics you admire as a maker?
A friend of mine makes fun of me for having so many cashmere jumpers, so maybe that. It’s so soft and warm, I can’t really go past it. Otherwise, almost everything is either wool or cotton.
Looking ahead, are there any creative disciplines or mediums you’re excited to explore? Whether as a natural evolution of your work or something completely unexpected?
I’m always experimenting with different materials, which includes plaster and fabric, both of which I’m exploring for lighting. I’m getting ready to launch a new architectural hardware brand, so I’m pretty focused on that. Otherwise, on a personal level, I’ve been enjoying learning to paint with oils.
Thanks so much for your time.
Zachary wears Walé Jean in Natural and Standard Tee in Used Black.
Website: zacharyfrankel.com | Instagram: @zacharyfrankel_