In his workshop outside London, Tom Faulkner transforms raw metal into award-winning furniture designs, emphasizing strong silhouettes and clean lines. The former music industry executive has come a long way since a simple DIY repair project ignited his passion for furniture design. Now, his creations are showcased in luxury showrooms across major U.S. cities.

In conversation with DNN, Faulkner discusses his journey from the music business to metalwork, his creative process, and the inspirations behind his distinctive style and his new Skye Collection. Read on for more: 

DNN: How does your background in the music industry influence your approach to furniture design? What is similar/different in the process of designing a piece of furniture versus creating a piece of music? 

TF: …My career in music was around sales, and communications, but I guess there are similarities in all creativity. There are a lot of ideas and inspiration but then a lot of craft and hard work.

When we launch a new piece or a new shape it normally takes a while for people to notice it and go on to like it or (hopefully) love it – a bit like a new piece of music, after you hear it for the first time, it takes a while to etch on to the brain.

DNN:  The Skye Collection has garnered significant attention at ICFF. Could you walk us through your creative process for this collection, particularly your use of steel and emphasis on amorphous shapes?

TF: Inspired by the Neolithic standing stones and the works of modern British sculptors – particularly Barbara Hepworth and Henry Moore – I wanted to make something which was kind of monumental,  but also functional that could work on a human scale. 

I started by playing with sculptural forms, and developing the silhouette of the collection. It is essentially a perfect ellipse within an amorphous, cloud-like shape. But it was the weight and the balance between the two which took a while to perfect.

The pieces are uniquely suited to steel because of its malleability and strength. I decided to make the collection in stainless steel because I wanted to use the material in its purest form, with no paint and no adornment. 

And I wanted it to be able to go outdoors as well. These pieces are extremely difficult to make – but the craftsmanship in my workshop is such that you cannot see any joins, or any clues as to how they are constructed – it all appears seamless. It’s the magic of making things.

DNN:  You’ve cited Barbara Hepworth and Henry Moore as inspirations. How do you translate sculptural influences into your furniture pieces? 

TF: I am a huge fan of them both  – particularly Barbara Hepworth who so often made monumental pieces with holes through them. Her “Single Form” is a big influence and became a motif that she repeated several times at different scales. 

It is her interplay of solid and void which fascinates me in these pieces, and I find them incredibly beautiful, and powerful.

DNN:  What do you like about working with metal? Are any other materials exciting to you?

TF: I love working with metal for its strength and flexibility. It can be bent, rolled, and welded into almost any shape, making it ideal for innovative design. 

Metal’s versatility can allow for either monumental sculptural forms – look at Richard Serra’s work, or incredibly intricate designs that are both delicate (and still strong). 

Every material, whether it be metal, wood, or marble, brings its own story and character, that adds depth and richness to what I design.

DNN:  Your pieces are crafted in your workshop outside London. How does this hands-on approach contribute to the quality and uniqueness of your furniture?

TF: Having my own workshop allows complete control over production, ensuring each piece meets our high standards. It also enables us to experiment and innovate freely, resulting in unique, bespoke pieces that reflect our craftsmanship and attention to detail. 

This hands-on approach allows me to prototype and refine designs meticulously, making adjustments on the fly, until I (and the team) feel happy that we have achieved what we set out to do, and have made something unique and distinctive.

DNN:  As this is your second career, having transitioned into furniture design from something completely different, what advice would you give to someone looking to do the same? And in the same vein: What inspired the change and what aspect of transitioning careers had the steepest learning curve?

TF: My advice is to follow your passion and work hard. Seek advice from others, and take opportunities where you see them, and take risks.

I was inspired to change careers by a desire to be creative and to work with my hands. The entire enterprise has been the steepest learning curve – I set up a business making furniture without any knowledge or experience of either business or furniture. 

DNN: Do you have a favorite of your pieces and are any of them in your own home?

TF: Like children I (pretend) to love them all equally, but I do have a few favorites, and there are always different pieces for different occasions. “Capricorn” is the original – it’s one of my first designs and it is still a bestseller. 

I have plenty of pieces in my house, yes. And ideas have often come from my own needs. Rather than buying a new sofa, I think why don’t I make one? In fact, we are working on a new upholstery collection right now

DNN: Looking ahead, what next? And what is the dream project or piece you would love to have realized?  

TF: There are things in the pipeline, the highlights will be a beautiful wallpaper collaboration with English brand  Fromental , based on our “Capricorn” design, which we are showcasing in New York in September, and then a couple of new pieces to launch in November, followed by an upholstery collection launching next spring.  A dream of mine would be to have a piece in the Victoria & Albert Museum in London!