Nodi – Italian for knots.
We are a dynamic, growing textile business seeking an adaptive, driven and personable Account Manager to join our team full time.
About Nodi – We design and create premium handwoven rugs with a focus on unique textures. We celebrate the beautiful imperfections the hand crafted process creates. Our craftsmanship, all natural fibres and considered, imperfect textures work together to create a tactile rug that transforms and adds character to a space.
Role: Account Manager
Type: Full time
Location: Nodi Showroom Karangahape Road, Auckland
We are looking for an Account Manager with a strong design focus to join our growing team. You will be responsible for developing and maintaining long term and valuable relationships with key interior designers and architects. This includes managing the current portfolio of accounts by actively pushing new and current product and effectively aiming to close sales. You will drive growth of key new accounts and opportunities to achieve profit and growth objectives.
This role provides autonomy as a large part of your time will be spent regularly visiting your customer base of architects and designers and holding showings in our centrally located showroom. Due to the nature of this role you must be an independent, natural leader with a drive to succeed.
With proven sales ability and effective communication skills, you will require excellent time management and a professional approach to your work and engagement with customers. Sales experience is essential from a wide range of industries – passion and strong affiliation with textiles is highly regarded.
In return we will offer a dynamic work environment with generous staff discounts, a competitive salary and a role with huge room to grow and develop in.You will be level headed, warm, friendly and personable. To succeed in this role we require that you are driven, motivated, personable, and posses a strong customer service focus with a clear understanding of sales cycles. You will be motivated and a dynamic team player who is committed to sharing the voice of the NODI brand. This role has room to grow for the right candidate.
We’d love to hear from you –
Please send your cover letter, CV + two images that inspire you & why to:
Natasha Mead’s love and talent for design is evident by the success of her Auckland based graphic design studio for print and digital projects. As well as designing Nodi’s beautiful website, Natasha’s clean and striking aesthetic has attracted both local and international names such as Lonely, Sans [ceuticals], Anyonegirl and Penny Sage. We talked to her about the excitement of peeking behind the studio door of her clients, getting to know them, and then translating this knowledge into design.
What education and experiences got you to where you are today?
When I was a kid I loved making stuff, especially stationary and websites, but any sort of medium that I could manipulate the look and feel of. I just didn’t realise this was actually design. It wasn’t until I was a year into a more generalist creative degree I had that lightbulb moment, and transferred to design at Massey University.
Can you tell us about your decision to work as a freelancer rather than joining a design firm?
At the start it wasn’t so much a decision as an organic process. After finishing four years of study I had a summer between the end of uni and starting to look for work, and happened to be offered a few great freelance projects at that time. One lead to another and soon it became full time. There was a lot to love about being self employed so I decided to just go with it and see where it lead. I was pretty fortunate in that regard.
How has travel overseas or living in New Zealand influenced your aesthetic?
I’m sure New Zealand has influenced me greatly but it’s difficult to pinpoint exactly how. Design culture is so global now and visual ideas are spread so quickly, so I think it’s more about the people you work closely with. Definitely the quality of work from local friends and designers here (in all fields) continually inspires me to push to do better.
Where in Auckland do you go when you need inspiration?
If I want to be inspired I usually try to get out of Auckland. Space and time seem hard to come by in the city, and they usually help me to see the bigger picture, so that I can focus more when I’m back.
What aspect of your job do you most enjoy?
Getting to know my clients and their work, there’s a real satisfaction that comes from translating that into a tangible thing for them, like a brand or a printed item.
And on a more selfish level, getting to look behind the studio door of so many talented creators. I love seeing how other people work.
Can you tell me of your favourite project you have worked on?
Every project and client is so different I honestly wouldn’t know where to start in comparing them. But a recent one I’ve enjoyed is a print journal I’ve just finished, with my friend Yas for her platform Anyonegirl. It’s based around the idea of the waist, which was interesting to communicate visually, and was great working with her and the amazing contributors content.
I hear you are an avid reader. What is the most recent book you have read and then wanted everyone else to read too?
At the moment I’m reading Spook Country by William Gibson. It’s a sequel to Pattern Recognition, which is one of my favourites. It has this great female protagonist who has an allergy for logos. One of the main ideas is the search for meaning in meaningless noise, which makes for really good sci-fi.
What is your go to meal when friends arrive for dinner unannounced and there’s nothing exciting in the fridge?
They’d do this at their peril, because I’ll just make a big cheese platter and leave it at that.
How does your profession influence your every day life and your home environment?
My design obsession leads to a lot of beautifully made object hoarding. Books and stationary are the obvious ones, but I also really like the forms of dried plants and branches, which I collect from the street (to the utter bewilderment of my partner).
What advice can you give us in creating a calm and beautiful space?
I think the idea of a beautiful space is really subjective to the individual. For example, I love studios that are crammed with objects, tools, and stacked journals- like workshops, where it’s accepted that the creative process can be messy and experimentation is necessary. But then I’m easily distracted and need clear surfaces to focus, and could never actually work in that kind of environment. So I try to create spaces that recede into the background a bit, and that tonal sparseness makes me calm.
Words by Anna Hewitt of Flowers in my hair, Images by Olivia Smith.
This month we had the pleasure of talking with the incredibly talented Rufus Knight.
Rufus’ projects range from fashion stores such as Lonely, Twenty-Seven Names and Curio Noir, to Te Koha- The New Zealand Room at the Venice Architecture Biennale. Working closely with his clients, he creates interiors that are in themselves an experience.
Rufus provides insight into how personal discipine and a broader appreciation of music, art and design has allowed him to develop into one of New Zealand’s leading interior designers.
Can you tell us about what studies or experiences got you to where you are today?
I was born in Opotiki but spent most of my childhood in Ohakune before my parents and I moved to Hawkes Bay. I studied in Wellington at Victoria University’s Schools of Architecture & Design where I then taught briefly. Following that I moved to Auckland and worked for Fearon Hay Architects. Throughout that time, I had intermittent periods of work in Europe most recently for Vincent Van Duysen Architects in Antwerp. My interest for interiors was really just intuitive. I was more interested in things like fashion and art and music and saw more possibilities for exploring these interests through interiors than I did in Industrial Design or Landscape Architecture. I remember being very taken by the 1960’s American canon of Judd, Serra, Heizer, Matta-Clarke and realizing, although it was classified as art, the work had a kind of interior dimension and I distinctly remember reading an essay by Art Historian Clare Bishop called ‘Heightened Perception’ that paralleled installation work by artists like Carsten Höller and Olafur Eliasson to its highly atmospheric qualities and effects on the senses. I wasn’t brave enough to be an artist so all of this just pointed me toward interiors.
You are very disciplined with your time. In what ways do you feel this helps the creative process?
Oh, you noticed, huh? Well, time is a most valuable resource so I’m really disciplined with my time management and efficiency. I like to put as much as I can into every day. Also my personality is very decisive and put a lot of trust in my intuition – both in regard to people and projects. There are always consequences with that kind of severity but I guess it’s just a strategy against overthinking things. I also have a bit of a phobia about wasting time; it makes me very irritable, ha.
How did living and working in Europe influence you as a person, and in turn, what do you think this added to your work?
I lived for a short period in Paris in 2011 and that was really my first insight to a culture outside of what I had grown up with. I felt an immediate attraction to many aspects of French design and culture and this has stayed with me ever since. Paris was a city that I felt very connected to and possessed a culture that I wanted to participate in, you know. More recently, Antwerp was an interesting place to live. It’s a quaint and studious place without the trappings of the larger European centers and I think if you’re from a country like New Zealand you can appreciate its scale and observant contentedness. I was drawn to Vincent’s [Van Duysen] work long before we crossed-paths professionally and was familiar with the way his approach to interiors – reinterpreting traditional and classic tropes through a modernist lens – had shaped a lot of my thoughts about what constituted strong interior design. My decision to take the opportunity in Belgium was also based on the fact that I wanted to experience Interior Architecture & Design in a more established context and as a more establish industry than I had been able to in New Zealand. This was certainly the case and the 12 months I spent with the Van Duysen team offered incredible insight into how potent and considered Interiors can be. The approach of the office, which was based around reinterpreting very classic, very Belgian forms and crafts through reductive aesthetic principals, was poignant to me because it made me question what New Zealand interiors could offer with the same approach and what constituted a New Zealand interior.
Does music, literature and the visual arts influence your work? In what ways?
Yeah, absolutely. As I mentioned before the American Modernist art canon was a really important cross-over. Also, after I finished university, I was really interested in foreign cinema; Russian, Swedish, Lithuanian, Hungarian, Greek, Turkish…mostly quite atmospheric and meditative. But it’s funny because you come to those films and their music and that sort of stuff that feel so obscure by yourself but then you actually find that other people you admire are also fans – Peter Zumthor is a apparently a big Tarkovsky fan – and it all feels less disparate. By and large my biggest influence from outside an architectural sphere has been New Zealand’s Nationalist canon of painting, literature, and photography. I don’t really participate in the contemporary art ‘market’, but I’m deeply interested in McCahon, Brasch, Hotere, Baxter, Daspher, L. Budd… I don’t know where that interest came from initially but the more I read by and about these artists and writers the more I started to understand myself and how a kind of creative identity of New Zealand developed through these people’s explorations. Francis Pound’s ‘The Invention of New Zealand’ book was – and still is – a revelation on these themes.
Tell us about Te Koha and how this opportunity came about.
The New Zealand Institute of Architects approached me after a kind recommendation from Nat [Cheshire]. The rooms that I have curated in the Palazzo Bollani were not part of the New Zealand exhibition Future Islands, which was designed by a creative team led by Dr. Charles Walker and Kathy Waghorn, but they sit alongside the exhibition. Over the six months of the Biennale, ‘Te Koha – The New Zealand Room’ and ‘Te Matau – The Reading Room’ will be utilised by patrons, sponsors, and members of the international diplomatic community for entertainment and hosting. Te Koha is a base for cultural events, symposia on architecture and design innovation and a place for New Zealand companies that are active in the European market to showcase their businesses to a broad international audience. Accompanying Te Koha there’s also the Te Matau, which will be a more informal space, adjacent to the exhibition entry, where visitors can pause and engage with a number of significant publications related to Architecture and Design in New Zealand.
It can be seen as a chance to showcase New Zealand’s design capabilities. How did you choose who and what to include?
The design strategy for both spaces was to work with innovative New Zealand-based suppliers and locally source materials in order to develop an identity for the room that was sympathetic to the richness and tactility of New Zealand’s natural landscape. Central to this approach was mauri – the essence which binds and animates all things in the physical world.
It is through mauri that mana (power, prestige) can flow between a person, object, or material. Examples of this in Te Koha are the woven Harakeke (flax) floor covering, the native Rewa Rewa (Honeysuckle) timber furniture, and the wūru (wool) fabric drops from the Perendale breed located in Akaroa on New Zealand’s South Island.
The selection of who to include was two-fold; on one hand I worked closely with New Zealand-based companies that have long standing relationships with the NZIA, such as Resene and Philips, on the other I introduced promising young producers, like Nodi, or innovative trades from outside the architecture industry, such as Robinson’s Interiors (superyacht builders), to the Institute whose global outlooks would work well in a setting like Venice. The common thread was that these companies saw value in our participation in Venice and understood how exposure at an event like the Biennale strengthens awareness of New Zealand’s Architecture and Design industries both locally and internationally.
What do you think of the current health of interior design in New Zealand? How does it compare to your experiences in Europe?
New Zealand has a strong history of Interior Design but in terms of a contemporary industry or craft – and especially after my time in Europe – it just seems somewhat marginalised in relation to architecture. Given New Zealand’s fixation on outdoor living maybe this is to be expected? There have certainly been historic benchmarks like Nanette Cameron and Douglas Lloyd-Jenkins who have contributed significantly to the formation of New Zealand design histories, specifically related to interiors, and, more recently, Katie [Lockhart], Amelia [Holmes], and Nat [Cheshire], to name a few, are doing amazing things but if you were to try put some definition around what characterises a New Zealand interior I think you would find the answer is still very tectonic. In order for this to change, I think New Zealand Interior Architects and Designers have to start to produce a design language that is equal to (or surpasses) the high-level of architectural thinking we have in this country and, at the same time, put an identity and relevant vocabulary around what constitutes good interior design and why it matters. The formation of these ideas are not solely the responsibility of those practicing Interiors, it is equally important that New Zealand supports good interior photographers, stylists, and artisans – furniture, textiles, ceramics – that contribute to the boarder identity of the industry.
What one piece of advice would you give to someone when decorating their home?
It’s been a great honour for us to be involved in numerous projects with Rufus, adding natural handwoven rugs to the interiors he designs.
New Zealand born Rob Tucker has managed to pack a lot into his ten years as a working artist. The teenager who wanted to sail boats had no idea he would go on to be a celebrated artist, internationally exhibited and sold. Tucker works in reaction to the world’s technological perfections, seeing beauty in ‘unique imperfections or a happy mistake’.
We were thrilled to get the chance to peek inside Rob’s inspiring Devonport studio and share a conversation about his art before he leaves for Berlin in May.
Can you tell us a little bit about your background and how you got to where you are today?
From around the time I was leaving Takapuna Grammar School – Auckland on my seventh form year, was when I initially started thinking and practicing my art socially with a couple of close school friends. There was no collaboration between us on one surface, although we shared a cohesive interest in abstract expressionism and “outsider” artist. We never pursued “painting” as a subject whilst at school although we were young, naive and enjoyed the freedom exploring our mark. We would paint in garages, parks and even rooftops from a briefcase filled of bizarre and accumulated household materials.
How would you describe your work to someone who has never seen it?
I would say my work is made up of highly speculated imperfections. I often paint imaginary still life, sometimes influenced by subjects on the Internet that I then subconsciously incorporate into expressive cartoonlike imagery. These subjects are a way for me to explore my creative process. I often construct and deconstruct the surface to pull the potential out of the picture. Until the picture feels right, I glaze the painting in a glass-like epoxy to seal the marks and gestures in like glorified fossils before it is framed.
I love the tongue in cheek titles of your pieces; can you tell us some more about this?
Wine is delicious, and I also like the somewhat poetic descriptions on the label as it really captures the flavour. I like to treat my titles like the description on the back of a wine bottle- it’s all very bizarre, but in the best way possible.
You had your first successful show at eighteen without any formal training. How important do you think institutionalised learning is in creative fields?
Humans are far too three-dimensional to say an institution is the only road for creative exploration. An institute certainly offers an outstanding field of knowledge. However, for me personally, having the freedom to develop my work in Devonport, Auckland has been an exceptionally grounding place to explore my creative process. A good friend Dave, who works at the Auckland Art Gallery, has been an invaluable mentor.
In 2012 I was granted a scholarship for a residency in Arbroath, Scotland and in 2013 I set up a studio in Southwark, London –close to the Tate Modern- for a year. These trips were hugely inspirational; meeting other artists, being closer to my London based gallery and having access to all the galleries the city has to offer.
What food, drink or music inspires you in your daily life? Are these things linked to your creative process?
I’m pretty much always listening to music in the studio. Sometimes on a particularly nice day, I may not want to be in here so I’ll somehow trick myself by putting on an album to create a mood to get myself in gear. I listen to a lot and it’s always changing.
Tell us about your move to Berlin, what is it about the city that attracts you?
I envisage Berlin as an inspirational place for me to establish a studio. It’s a constantly evolving, cosmopolitan city and it is the strong sense of creativity and openness that attracts me. It will be a great base to make the most of what Berlin has to offer and will be a great base to travel other parts of Europe.
Do you think it is important for New Zealand creatives to leave New Zealand for some time? Why?
Leaving New Zealand is always an amazing opportunity to broaden our perspectives and understand who we are and what it is we desire to do.
What role do you think an artist plays in society?
I believe that, broadly speaking, that a healthy society is a reflection of a healthy art scene.
How do you define beauty?
Considering many of the world’s technological perfections, to me, unique imperfections or a happy mistake seem rather beautiful.
Thanks for letting us into your space & chatting with us Rob – view more of his work here.
Written by Anna Hewitt of Flowers in my hair.
A snapshot of March’s mood – unbalanced rigidity, blocks of colour, twisted linear shapes.
Since she was a child, Ali McIntosh has had an eye for creating beauty in all that she does. This has developed from the perfect doll’s tea party to the thoughtfully curated homeware store, Tessuti, situated in Auckland’s Herne Bay. Inspired by local talent, Ali has navigated the world of design first as the manager of Tessuti and now as the owner of this twenty-six year old business. Nodi had the pleasure of talking to Ali about her love of design and how to create a harmonious home environment.
Can you tell us about your background and upbringing?
I grew up in Auckland with two brothers, a big garden to play in and five (!) cats. When I was little I loved playing with my dolls, making them houses under the trees in the summer, and under the dining table in winter. Even back then the dolls house had to have fresh flowers and pretty plates for the tea parties.
How did Tessuti come out of these experiences?
My loves have always been gardens, houses and food, although when I left school I was involved in fashion. I studied a short course at Unitec in domestic landscape design that I put to good use creating my first garden when my children were small. I have also owned my own cafe. So I guess Tessuti is an extension of all the things I love.
What inspires you when it comes to chosing what you will stock in your store?
It is important to me to know the background story of the maker and we then have the ability to share a story with our customers. I also appreciate beautiful hues, texture, longevity and often a handcrafted element.
Why do you think supporting local New Zealand talent is important?
There are so many great artisans right here in New Zealand. By supporting them, I am able to feel connected to their creative process and it allows Tessuti to become part of their journey as well.
How has the New Zealand design landscape changed since Tessuti opened?
I shopped at Tessuti twenty-six years ago. At that time Tessuti was one of very few artisan homeware stores in the country. Now there are so many homeware stores, and the impact of online shopping has made a big difference. Still, I have stuck to the original format of seeking out individual artists and makers, some of whom have been with Tessuti from the beginning. I purchased the business in 2011, having managed it for the previous owners for four years, and developed our online store that is now very active.
What role does food and cooking play in your life? Can you share a favourite recipe for the last of the summer weather?
I love reading about food in any form, and enjoy learning about different chefs and their journeys. (I own way too many cookbooks) Nigel Slater would be one of my favourite cooks to read. His kitchen diaries series is just delightful. My New Years resolution was to try one new recipe every week. So far so good! But with the abundance of fresh produce in summer a book I have been using a lot has been Plenty More by Yotam Ottolenghi. Especially his Tomato and Pomegranate Salad and his Tomato and Roasted Lemon Salad.
What has been on your summer reading list? Any new, or rediscovered gems you would recommend?
I recently read The Bronze Horseman Trilogy by Paullina Simons, which I thoroughly enjoyed, and The Hypnotist by Lars Kepler kept me wide awake! A book that I often dip back into is A Lion in the Bedroom by Pat Cavendish O’Neill.
How would you define beauty?
Beauty – it’s everywhere when you stop and look. A moment taken at the ocean’s edge. Breathing in a sunset with friends. The intense green of rolling hills after the rain. Some soft music and a great book.
What words of wisdom can you pass on to those wanting to create a beautiful and harmonious home?
Creating a home is not about what’s newest and coolest, it’s about the pleasure of discovery, what inspires you, and what is most authentic. I love to change accessories every season, beautiful blankets on the sofa in winter, gauze cloths in the summer. My home has lots of table lamps, standing lamps, and candles to create the perfect light. And always fresh flowers and greenery.
The bottom line? Try to aim for a feel more than a look.
Thank you so much Ali (and Monty – featured above), you are a constant source of inspiration for us, we are so honoured to stock our rugs and cushions in store & share our journey with you. – Visit the Tessuti online store here.
Written by Anna Hewitt of flowers in my hair.
The things that our eyes are currently obsessing over – bold curves, contrasting & imbalanced shapes, layered asymmetry.
Interior stylist Amelia Holmes has created yet another a perfectly balanced, refined + calm space. The use of natural, raw materials results in harmonious space || Floors dress in Nodi.