Imagine being a young student, fresh out of high school, stepping nervously into a graphic design course interview, only to realise your portfolio needed to be more adequately displayed. This misstep may have been a disguised blessing for Sean, forcing a pivot to his third-course preference, furniture design at the Royal Melbourne Institute of Technology (RMIT).
In the initial stages of his education, Sean grappled with doubts and a love-hate relationship with furniture design. Surrounded by classmates—some fresh out of high school and others more seasoned—there was a palpable difference in motivation levels, causing him to question his own commitment. However, the first year at university wasn’t merely about learning techniques or materials; it was a testing ground for character, resilience, and the burgeoning love for design, leading to the inevitable decision to take a gap year.
Look For The Silver Linings for Misc objet show 'Plinth'. Photography by Matt McQuiggan.
That gap year took Sean, among many other places, to Basel, Switzerland, where a renowned furniture design museum became the catalyst for inspiration, revealing the vast possibilities within the design world and giving solid form to what his education might ultimately lead to.
Upon returning to RMIT in 2020, Sean faced unprecedented challenges as the world faced the Covid pandemic. The confines of Zoom classes contrasted starkly with the hands-on nature of furniture design, leaving many students feeling disconnected from their craft. As lockdowns became the norm, deferrals plagued his peers. Yet within this challenge lay gold; through sheer determination and resilience, Sean emerged to create a bond with fellow creatives despite the limitations.
In 2021, amid ongoing disruptions, Sean completed his course, but with lingering uncertainty about the future. With limited industry experience, questions loomed—how could he make a living or even begin to find his place in Melbourne’s creative landscape?
“In the end, extending a 2-year course to 4 years was interesting. Over that time, I made a lot of changes to my design style. So yeah, I feel like it was a good thing, thinking about furniture for four years rather than two, and that I matured a lot through the course.”
Stiletto Stool. Photography by Sarah Forgie
Momentum was begun when an unexpected opportunity arose to work for a local furniture maker, Damien Wright , a pivotal figure in Melbourne’s design scene. This role provided invaluable mentorship, enabling Sean to refine his skills and learn the intricacies of woodworking. Yet it wasn’t just the practical knowledge that proved essential; being immersed in an environment driven by creativity and design helped shape his identity as an emerging designer.
“I love just being a bit of a fly on the wall and sitting watching people. You learn so much in that kind of mentor-mentee environment but you also have to pay for your rent and stuff like that so its really hard.”
Following this time, Sean decided to establish his own studio, returning home to live with his Mum to afford Melbourne’s rental climate. Here, the designer could experiment freely, working on commissions, experimenting with materials and evolving some of the more promising pieces that emerged from his studies. The beginning was modest, just a few pieces crafted amidst stacks of timber. Those remnants carved out footholds for Sean while balancing multiple jobs and helping balance the shadows that cast over the excitement of unfamiliar overhead costs and emerging responsibilities.
Photography by Sarah Forgie
However, life has a way of offering opportunities when least expected. An elderly furniture maker with an extensive collection of rare timber sought someone to pass his legacy onto. Sean received this incredible gift through an old family connection—a treasure trove of materials that would form the basis for many future projects. Crafting vases and side tables led to his first foray into sales, proving successful beyond his expectations.
As Sean’s work began to catch the eyes of the local design community, he started to gain traction in a crowded market. His work as a production assistant at Coco Flip and collaborations with stores like Ma House showcased his pieces, giving them visibility in an industry that thrives on connection. Sean has fostered relationships with clients and fellow designers alike, creating a sense of community in a city renowned for its vibrant design culture.
“Coco Flip and Ma House were great with generating a bit of exposure for me. The first day the pieces went into Ma House, the Stiletto Stool I made at university sold.”
Make room for Bode by Ma house. Photography Phillip Huynh, Courtesy of Incu.
Amid peppered successes, Sean recognises the challenge of sustaining his voice in a sea of aesthetics. Pricing work has become a reflection of not only time and skill but also the raw materials sourced from his connections or procured at cost. Dancing the delicate tightrope of balancing artistry and affordability, Sean has forged an understanding of the vast gulf that often exists between the price of an artisan piece and the financial realities of consumers.
With this awareness, Sean has sought to diversify, experimenting not just with furniture but with smaller homewares and sculpture. A longing to grow his identity is beginning to manifest, emerging through pieces that nestle into everyday life while making a statement about craftsmanship and design philosophy. This exploration was driven by the need for a sustainable income and an intrinsic desire to connect with a broader audience.
Ajar Lamp for Misc Objet show 'Nostalgia'. Photography by Matt McQuiggan.
Coinciding with his exploration into design, Sean has also fostered the emergence of projects like First Edition Library . Aimed at showcasing the beauty of literature alongside functional art, this initiative allows him to blend two passions—books and design—into a cohesive platform. By curating pop-up libraries and collaborating with creative minds, Sean has created spaces where the love of books could flourish, further solidifying his place in the community.
“The idea is that people come through and browse the books. The dream is that 10 people would be there at a time, and they'd be different people, different creatives, looking through books, chatting to each other and making connections.”
First Edition Library. Photography by Phillip Huynh.
Yet, even as Sean navigates the complexities of being a young designer, thoughts of the future take up tenancy in his mind. In tandem with reaching a semblance of stability in his career are thoughts of dream engagements, commissions and collaborations. Sometimes, these thoughts envision a large-scale shop fit-out that merges artistry with functionality or product design that speaks of Sean’s unique vision. All are reminders that each success is a stepping stone to a greater norm.
“I want to do another open library that doesn't sell books and keep that idea of getting artists' and designers' private collections and showing them to the public. That'd be cool.”
First Edition Library. Photography by Phillip Huynh.
In an age where creativity thrives, Sean Brickhill’s journey reminds us that missteps can lead to extraordinary outcomes and that the connections we forge can have a lasting impact. With each piece crafted, each book showcased, and every challenge embraced, Sean embodies the transformative potential of staying true to one’s passions while being open to the winds of change. As he continues to explore and innovate, one can only anticipate the myriad of ways this designer will contribute to the evolving narrative of furniture design in Melbourne and beyond.
