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Holland and South Africa are coming together for an historical creative matchmaking event set to coincide with the Dutch presence at Design Indaba 10.
Peter Kersten, the former President of the Association of Dutch designers (BNO), has co-ordinated the event to encourage collaboration and partnerships between South African and Dutch designers and design agencies.
The event is an initiative of BNO (Association of Dutch Designers), executed on behalf of the EVD (Dutch Agency for International Business and Cooperation) and supported by the Dutch Consulate General, and the South African Netherlands Chamber of Commerce (SANEC). South African design organisations also support the Matchmaking initiative which involves representatives from associated bodies such as THINK, DSA, the SABS Design Institute and related government agencies.
The event will see representatives from the Dutch and South African contingents attending Design Indaba 10 to explore potential business relationships, in addition to attending the matchmaking event on Monday 19 and Tuesday 20 February. Networking, guest lectures and social evenings will complete the talent exchange collaboration.
The South African matchmaking team is comprised of leading SA design representatives in the spatial, industrial, craft and visual
communication design areas. It is envisaged that the Dutch matchmaking team will be particularly interested in outsourcing particular aspects of design projects to South African design agencies, with a key focus being design for diversity.
A transfer of design knowledge and competencies will enhance the creative sector in both countries and strengthen
SA-Dutch trade and cultural relations.
Design collaboration
South African graphic designer Julie Scott explores design synergy working with independent Dutch firm CMK.
In June 2006 I undertook a trip to the Netherlands to visit a range of designers, from networked studios to independents. The objective of my visit was to establish a network of designers and a collaborative client base.
The research phase involved trips to Johannesburg, Amsterdam, Rotterdam and Delft; visits to studios, as well as design and trade organisations and embassies in South Africa and the Netherlands.
During this phase, I discovered that the BNO (Association of Dutch Designers) had gathered extensive related information in support of their proposed Dutch-SA Matchmaking Event. Premsela and SANEC (South African Netherlands Chamber of Commerce) offered additional support
and contacts. It was also useful having existing contacts in the Netherlands as a starting point.
One of my existing contacts was Cathal McKee of CMK, an independent design studio based in the Heerengracht in Amsterdam. Cathal was keen to put the idea to the test and in September I was commissioned by CMK to work on selected design projects.
In order to further establish our chemistry, I went to Amsterdam to work in the CMK studio.
The main project was to develop an identity system for a Belgium-based international technology company, ADAM, and to present in Brussels on completion.
The success of the relationship and the outcome of the project led to working on further projects together in Amsterdam, including a Dutch fashion retail chain and an American recruitment agency.
We then established that I would continue to work with CMK on projects when back in Cape Town and this long-distance working model has worked seamlessly and successfully. This has led to another commission to return to the CMK studios in Amsterdam to work on new projects.
Such collaboration requires research, analysis, structured planning, an investment of both time and money, hard work and patience. Both parties need a spirit of entrepreneurialism and a view that geographic and cultural differences are opportunities to break new ground.
This model of work is about exploring cultural exchange and building international networks of people who share a similar vision and are eager to apply creativity and innovation to the design of new work methods, as well as design projects.
High-level work quality is essential when working with international clients; clear communication and timelines are necessary, although flexibility is required as well. This model can involve more energy and hard work than working on local projects, but is ultimately a very stimulating way to work.
Cultural and information exchange, networks and travel form the core of the business model. As a designer working in new cultural environments, travel is essential. Experiencing a country and the way people live, work and communicate gives the designer essential insights required to be able to design contextually and articulately. Regular travel is also necessary to foster and nurture network relationships as well as to establish new ones, thus air travel, transport, accommodation and living expenses have to be considered.
Further afield, I have established an association with The Ludic Group, an innovative design business agency based in London known for its inter-disciplinary approach to strategies, decision support environments, culture shift and community development.
Together we have developed a unique innovation-based model of brand identity development and design for large-scale organisations and have taken this model to market, where it has met with great success.
The Ludic Group collaborative teams include businesspeople, academics, artists, musicians, research teams, brand and communication designers, software experts, provocateurs, environment and conceptual designers.
Further contacts
During the research phase of this undertaking, I took a design education concept to Dutch designers whereby they could contribute to developmental design education in South Africa. As a result, a programme is currently being developed with Dutch design luminary Jacques Koeweiden. He will extend his highly successful work done in cultural identity through the medium of design in the Netherlands to a programme specifically for South Africans at a design centre in Cape Town.
On invitation, I attended the Total Identity International Network Conference in Antwerp in October 2006 and have formed an ongoing affiliation with Total Identity (Netherlands-based world leaders in identity design and strategy) and their international network, which includes not only designers but also technology experts, economists, academics, researchers, historians
and psychologists.
Mutual inspiration
Cathal McKee of CMK on collaboration with Julie Scott.
Working together
The most important thing in a design working relationship is having the same idea of quality, that all-essential click and, above all, the flexibility to find a way to match a client's project timing. Julie and I have already spent a few months getting to know each other across continents. This takes time and investment from both sides.
Quality
Quality defines any working relationship, particularly with emotionally charged design projects. We both found that we were able to empower and challenge each other's idea of design quality. In long discussions on the ADAM project we were able to find a quality balance within the project timeframe. Taking Julie with me to the client in Belgium gave her more insight into the client's needs and a taste of Belgian culture. At the same time, Julie's design quality level was inspiring and perfect for this particular client.
High impact, long distance
To make any relationship like this work, you need to find, develop and make certain rules.
- Timing is everything. Visits don't always take place when clients need projects. Projects carry on at long distance.
- Visits will be high impact. You need to make time within your project and keep the relationship going outside of daily business.
- Use every communication means possible: Skype, e-mail, texting, ftp, mobile.
- Inspire each other's design needs; share work and examples of things you see and find.
Future
We both took a risk and it worked immediately. The next step is to improve our way of working and find a way to create a longer-term commitment. We will develop client relationships together on both sides
of the continent.
We must keep inspiring each other, and above all, keep the focus on delivering world-class design and branding work wherever we are. •
Holland and South Africa are coming together for an historical creative matchmaking event set to coincide with the Dutch presence at Design Indaba 10.
Peter Kersten, the former President of the Association of Dutch designers (BNO), has co-ordinated the event to encourage collaboration and partnerships between South African and Dutch designers and design agencies.
The event is an initiative of BNO (Association of Dutch Designers), executed on behalf of the EVD (Dutch Agency for International Business and Cooperation) and supported by the Dutch Consulate General, and the South African Netherlands Chamber of Commerce (SANEC). South African design organisations also support the Matchmaking initiative which involves representatives from associated bodies such as THINK, DSA, the SABS Design Institute and related government agencies.
The event will see representatives from the Dutch and South African contingents attending Design Indaba 10 to explore potential business relationships, in addition to attending the matchmaking event on Monday 19 and Tuesday 20 February. Networking, guest lectures and social evenings will complete the talent exchange collaboration.
The South African matchmaking team is comprised of leading SA design representatives in the spatial, industrial, craft and visual
communication design areas. It is envisaged that the Dutch matchmaking team will be particularly interested in outsourcing particular aspects of design projects to South African design agencies, with a key focus being design for diversity.
A transfer of design knowledge and competencies will enhance the creative sector in both countries and strengthen
SA-Dutch trade and cultural relations.
Design collaboration
South African graphic designer Julie Scott explores design synergy working with independent Dutch firm CMK.
In June 2006 I undertook a trip to the Netherlands to visit a range of designers, from networked studios to independents. The objective of my visit was to establish a network of designers and a collaborative client base.
The research phase involved trips to Johannesburg, Amsterdam, Rotterdam and Delft; visits to studios, as well as design and trade organisations and embassies in South Africa and the Netherlands.
During this phase, I discovered that the BNO (Association of Dutch Designers) had gathered extensive related information in support of their proposed Dutch-SA Matchmaking Event. Premsela and SANEC (South African Netherlands Chamber of Commerce) offered additional support
and contacts. It was also useful having existing contacts in the Netherlands as a starting point.
One of my existing contacts was Cathal McKee of CMK, an independent design studio based in the Heerengracht in Amsterdam. Cathal was keen to put the idea to the test and in September I was commissioned by CMK to work on selected design projects.
In order to further establish our chemistry, I went to Amsterdam to work in the CMK studio.
The main project was to develop an identity system for a Belgium-based international technology company, ADAM, and to present in Brussels on completion.
The success of the relationship and the outcome of the project led to working on further projects together in Amsterdam, including a Dutch fashion retail chain and an American recruitment agency.
We then established that I would continue to work with CMK on projects when back in Cape Town and this long-distance working model has worked seamlessly and successfully. This has led to another commission to return to the CMK studios in Amsterdam to work on new projects.
Such collaboration requires research, analysis, structured planning, an investment of both time and money, hard work and patience. Both parties need a spirit of entrepreneurialism and a view that geographic and cultural differences are opportunities to break new ground.
This model of work is about exploring cultural exchange and building international networks of people who share a similar vision and are eager to apply creativity and innovation to the design of new work methods, as well as design projects.
High-level work quality is essential when working with international clients; clear communication and timelines are necessary, although flexibility is required as well. This model can involve more energy and hard work than working on local projects, but is ultimately a very stimulating way to work.
Cultural and information exchange, networks and travel form the core of the business model. As a designer working in new cultural environments, travel is essential. Experiencing a country and the way people live, work and communicate gives the designer essential insights required to be able to design contextually and articulately. Regular travel is also necessary to foster and nurture network relationships as well as to establish new ones, thus air travel, transport, accommodation and living expenses have to be considered.
Further afield, I have established an association with The Ludic Group, an innovative design business agency based in London known for its inter-disciplinary approach to strategies, decision support environments, culture shift and community development.
Together we have developed a unique innovation-based model of brand identity development and design for large-scale organisations and have taken this model to market, where it has met with great success.
The Ludic Group collaborative teams include businesspeople, academics, artists, musicians, research teams, brand and communication designers, software experts, provocateurs, environment and conceptual designers.
Further contacts
During the research phase of this undertaking, I took a design education concept to Dutch designers whereby they could contribute to developmental design education in South Africa. As a result, a programme is currently being developed with Dutch design luminary Jacques Koeweiden. He will extend his highly successful work done in cultural identity through the medium of design in the Netherlands to a programme specifically for South Africans at a design centre in Cape Town.
On invitation, I attended the Total Identity International Network Conference in Antwerp in October 2006 and have formed an ongoing affiliation with Total Identity (Netherlands-based world leaders in identity design and strategy) and their international network, which includes not only designers but also technology experts, economists, academics, researchers, historians
and psychologists.
Mutual inspiration
Cathal McKee of CMK on collaboration with Julie Scott.
Working together
The most important thing in a design working relationship is having the same idea of quality, that all-essential click and, above all, the flexibility to find a way to match a client's project timing. Julie and I have already spent a few months getting to know each other across continents. This takes time and investment from both sides.
Quality
Quality defines any working relationship, particularly with emotionally charged design projects. We both found that we were able to empower and challenge each other's idea of design quality. In long discussions on the ADAM project we were able to find a quality balance within the project timeframe. Taking Julie with me to the client in Belgium gave her more insight into the client's needs and a taste of Belgian culture. At the same time, Julie's design quality level was inspiring and perfect for this particular client.
High impact, long distance
To make any relationship like this work, you need to find, develop and make certain rules.
- Timing is everything. Visits don't always take place when clients need projects. Projects carry on at long distance.
- Visits will be high impact. You need to make time within your project and keep the relationship going outside of daily business.
- Use every communication means possible: Skype, e-mail, texting, ftp, mobile.
- Inspire each other's design needs; share work and examples of things you see and find.
Future
We both took a risk and it worked immediately. The next step is to improve our way of working and find a way to create a longer-term commitment. We will develop client relationships together on both sides
of the continent.
We must keep inspiring each other, and above all, keep the focus on delivering world-class design and branding work wherever we are. •
