On an unusually warm day in early May, we visited designer Magnus Long in his north London studio to discuss his working practice and his first design for SCP, a cantilever chair called Archer.
In the preamble before the interview begins, I remark on how much I am enjoying the gentle probing conversational style of interview currently being employed by Bella Freud, on her Fashion Neurosis podcast, where she delves into the psychology of her guests. In response, Magnus says “For a long time, I’ve kind of tried to keep that distance, but I am beginning to realise that people do want to know how you go about things, and you can’t just use your work as a shield between you and the kind of person that’s using it, because they do want to know why you design things, and what brought you there in the first place”. On that note, we begin, and I start a line of questioning that seeks to elicit some insight from a designer who has, up to this point in his career, kept his cards close to his chest.
DR
When did you move to this studio? How did you find it?
ML
Well, I’ve always lived in the area. We used to live in Wood Green and there’s an arts institution called Collage Arts, they’re spaces for creatives on a light industrial estate. Then I moved to this studio in 2019. It’s great because it’s a 10 to 15 minutes walk from home. We moved over to Hornsey later on, and it was nice being able to come here through the pandemic. To be honest, it was kind of an escape.
Most of the time I am here by myself. If I’ve got a larger project on, then I might have a freelancer come in and work alongside me, but most of the time it’s just me. I have been here for a while now, and it keeps evolving. I keep making little changes to it, but it’s kind of a desk space for sketching and computers, and a small workshop. There’s a load of stuff in storage a couple of floors down, which means it’s a bit tidier than it used to be.
DR
What does the daily life of the studio look like?
ML
It’s usually dropping the kids to school, then I come straight here. Take my shoes off.
DR
Should we take our shoes off?
ML
No, no. It’s only because I don’t like wearing shoes. In the mornings I struggle to get into any sort of flow. So, I usually do administration, even things like sorting out stuff for the kids. I often find that my whole day is trying to clear space so that I can get into more creative work, I need that blank space. If I’m lucky, I might start getting into doing things like sketching in the afternoon. Or beginning to make models, but that’s quite rare. Often the bit where I really start to get into that flow is five o’clock, which is the time that I would normally finish every day. But then on certain days of the week, I’ll stay at the studio later, until about 10 o’clock.
DR
Before kids, were you more of a night person? In terms of working late. I certainly was.
ML
Yeah, I used to be in a design collective with two designers, it was called Viable London.
DR
I remember it well.
ML
It was with Gala Wight and Charles Trevelyan, who are still good friends. When it was the three of us together, you’ve got people to bounce off. So late at night, you’d be getting ping, ping, ping and you’d be suggesting and designing and sharing your thinking with each other. We’d often go quite late into the night or small hours of the morning. I miss that, but I don’t think I could do it anymore.
DR
I agree, your energy changes as you get older, and you have to look after it differently.
ML
Also, most of my work is project based. So it’s not like I am doing the same task every day. My everyday rarely looks the same each week, there will be various things happening, and then you’ve got deadlines and key points, and I do love the pressure that goes with that. When you’ve got an impending deadline, maybe for an exhibition or a launch, then everybody in my family understands that. There will probably be a week or two that is very intense, but it’s great, because it’s focused. And actually, the studio does become an utter mess. Where you’ve got stuff all over the place, but you’re really focused. I enjoy that.
DR
Yes, I really enjoy it when I can simply dedicate one day to one piece of work.
ML
It makes me think about why I choose to do design in the first place. A while back, I used to self-produce some pieces, and when you design something and somebody buys it, it’s a great feeling. I don’t think I was ever interested in the money value, it was more the fact that you created something that somebody wanted. There is validation there. That out of your creativity, your craft, your profession, you created something that’s either useful or desirable. I love that.
DR
There’s a purpose there.
ML
Yes, there’s a purpose to it and it’s also so much fun. It’s incredibly fun doing design. When I think about why I went into design? It’s almost like, well, nobody ever told me to stop playing. I think it’s sad in a way that sometimes people are told to stop playing, because, you know, there’s this path that you need to travel, in order to get to that point, or the next. If we’re really honest, it’s not the highest paying industry. It’s okay for some, sure, but you could live a much more luxurious life if you worked in another industry. So you have to do it for the love of it, and perhaps that is why it is so rewarding when people enjoy the things you have created.
DR
I always think design is just a beautiful topic, because it’s everything. It’s not just chairs and tables. It’s kind of everything, it can touch everything, philosophy, politics, all human experience. It’s a lovely subject. There are a lot of pleasurable and joyful things about it.
ML
I agree. I think when you get to communities where you find people that you like. And I think SCP is a really good example of a really nice community. Whenever I go there, I always find somebody that that I am friends with, that I get on with, that I am going to have a nice chat with, it’s always a really welcoming.
DR
There are a lot of connections.
ML
It’s a very welcoming group of people.
DR
In terms of your working life, what parts do you most enjoy?
ML
I enjoy factory visits. That’s gold to me, because at that point, when you meet the people who are actually making a new thing, you have those great conversations and exchanges. I have always been fascinated with making things.
DR
Where did that come from?
ML
Well, my dad was always, always making things.
DR
What did your dad do?
ML
He was trained as an engineer, and then he went into graphic design. So he did graphics and illustration
DR
So you were always making stuff in your childhood?
ML
Well, I had access to tools from a very early age.
DR
Did he encourage you in that way?
ML
He was so busy doing it himself that I was never really pushed into it. He absolutely loved to build boats. He built kit cars, and he was good at making that stuff. I mean, he’s got this kind of x-ray vision where he could look at the hull of a boat and probably draw you what it looks like inside, the structure of it. So I’ve always had that perspective, and access to tools.
DR
I know you do some teaching. Does that filter back into your working practice?
ML
Yes, I’m an Associate Lecturer at Central Saint Martins. I’ve done it for quite a few years, it might be one or two days a week every now and again. That’s my outlet, to get out and see other people. There are quite a few other Associate Lecturers who have their own practices, and you get to share a lot. Then you’ve got the academic side of things, and, of course, you’ve got the students, so there’s a lot of exposure to other people, and young ideas. It’s a nice discipline to be involved with and does give me more perspective.
DR
Do you have a preferred type of client or project at the moment that you enjoy working on? Is it furniture? Lighting?
ML
I like the human scale of furniture and lighting. It’s about emotions, how people attach and connect with objects, how they talk to you, and you talk to them. It’s a conversation that’s happening within rooms, and you’ve got to live with these objects. In terms of the types of clients, I think the ones that you can have open and honest conversations with are the best ones. Everything good starts with a conversation.
DR
Lastly, is there any particular project that you are excited about now, or projects that are coming up?
ML
Well, it has to be the Cantilever chair for SCP. It’s just been a lovely project to work on, and it’s had a good pace to it as well. The honesty and exchange with Sheridan and the product development has really helped keep momentum too. For a chair of this kind, it has taken about a year to develop, which is relatively fast, and I have really enjoyed that. I’ve always wanted to design a cantilever chair, so to get the chance now, in tubular steel, has been a real pleasure.
A big thank you to Magnus for inviting us to his studio, for his time and generosity.
