Everyone with an appreciation for well-made, timeless statement furniture is buzzing about the works of Namon Gaston. Namon is, of course, an exemplary designer maker. He is also, it transpires, an astute businessman.
The working system that Namon has developed is about making in the most efficient manner possible. Everything is planned out meticulously in 3D drawings before being built. ‘The design process is really prominent for me whereas other designer makers work and pieces evolve organically. My pieces are much more efficient – I am running a business and I have to make it viable.’
Namon’s collection pieces are measured and planned to an extent that would satisfy even the most fastidious of critics. ‘They are all scalable,’ he explains, and all available in bespoke sizes. His dining table for example is available in typically six and eight seater variations, but it is possible to customise the piece. ‘The way I’ve designed the leg structures means that they’re easy to move to accommodate different surface sizes.’
It is this attention to detail and the possibility of working alongside Namon that epitomises Namon’s business acumen. Graduating from Edinburgh College of Art where he studied Furniture Design, Namon knew that he wanted to do something out of the ordinary.
‘It’s always been well-made, considered design and quality furniture that inspired me.’
It was a niche that Namon identified in the ‘saturated furniture market.’ Instead of slavishly following fashion, Namon’s works focus on ‘simple design with good materials – true investment pieces.’
The opportunity to work with Namon to create bespoke pieces is one of the many reasons his works are sought after. Always of exceptional quality, and decoratively minimalist and ‘low impact,’ is it surprising that Namon Gaston’s work is the subject of widespread admiration, and commissioned by collectors and admirers alike?
The bespoke route is a happy medium for many who want something particularly suited to their needs but not the expense and time outlay of designing a work from scratch. Namon’s familiarity with the underlying structures of his collection means that when it is customised he can cost it realistically and make accurate estimations for materials and time, aspects of the work that are more complicated in commissions.
It turns out that Namon is also a fan of the Slow movement.
‘Slow-buying makes sense for what I do.’
Tailor-made experiences, customisation options, care taken over selecting the highest quality materials, made-to-order pieces of great quality and great design, hand-crafted by a master of his craft all fit perfectly with the Slow ethos. If you’re unfamiliar with the term you can familiarise yourself here.
Namon’s works come with a lifetime guarantee – the surfaces may suffer wear and tear and need attention, depending on how carefully (or otherwise) the piece is cared for, but the structure will be fine.
‘Essentially what you’re doing is building a relationship with your clients and a trust bond.’