This question is asked of me quite a bit. In today’s mass – produced and
over – consumed existence, it is sometimes hard to separate, in one’s mind, hand made goods from the rest of the bunch. People are not always clear on what really defines fine craft from the things they purchase at big box stores. Seriously. I encounter this quandary on a regular basis as I seek to educate the general public to these differences.
There are many schools of thought pertaining to this question. Some would say fine furniture is made entirely by hand, while others would argue that it is in the design and aesthetics of the piece that elevates it to this lofty level. Some even conclude that it must be an authentic reproduction of the past to be considered fine furniture. The definitions and opinions vary as much as the people who express them. So, is there a way to put the debate to rest? Can the parameters of fine furniture be clearly and concisely stated once and for all? Maybe. Maybe not. In fact it’s not my place to even try. What I present here are simply the observations and opinions of a simple craftsman seeking to help change the mind set of a society that has lost touch with the fine and simple things of life. So, what, in my opinion, elevates a piece to being considered, “fine furniture?”
The first thing is to consider the piece as a whole.
Look at the overall design. It’s been a trend, lately, in mainstream mass – produced furniture to combine a multitude of stylistic references and haphazardly slapped on molding in an effort to create some sort of “elegance.” All that’s being accomplished there is mass confusion! A well designed piece, takes everything into consideration. The style that the piece seeks to reflect will be enhanced by careful wood selection, the proportion of all of its parts, the inclusion of certain details as well as the exclusion of others. Even the hinges and handles must exist cohesively with the piece. Every aspect of fine furniture down to the smallest detail is brought together in a delicate and harmonious balance. Without this, you simply have an item.
The next thing to consider are the details.
Observe the minute characteristics that make the piece stand out from the crowd. Are the aprons joined to the legs tightly? Do those cabinet doors close with ease and have an even reveal around them? Were the drawers constructed with well – executed joinery? These things separate good from great. Fine Furniture does not always exhibit hand cut dovetails and Newport Shell carvings. What I’m describing is a sensitive approach to the “small” things that make up the whole. Careful, thoughtful, and deliberate execution of proper techniques that result in a piece that quietly tells its story with the simple elegance of all its details.
Lastly, consider the maker.
Who made the piece? What are their guiding principles and philosophies within the craft? Why do they choose to build the way they do? What are their chosen methods of design and construction? Like it or not, the very core of our being is communicated through our work. When we make something with our God – given instruments of the hands, the eyes, and the mind, we include our thoughts, our beliefs, and our heart in that work. Instead of denying it, a maker of fine furniture embraces it and seeks to enhance it. To this maker, each piece is a small gift of their ability, their love, their passion. It is a gift of their true self. This is what truly elevates fine furniture from all else.
Well, these are just brief glimpses into what could become a never – ending discourse on the subject, but I hope to have begun to shed some light on what puts the “fine” in “fine furniture.”
{ 5 comments… read them below or add one }
Hi Adam……………..what I find interesting, is that what many define as fine, all looks the same in style, and over the past year or so, have observed the internet woodworker get very mechanical. With a mechanical approach has come conformity.
Like you mention, its a never ending discourse but having played in the arena it’s the individual who communicates through form who will be percieved as fine, not the skill used. It doesn’t matter what technique was used to find the form, the visual will tell the story not the pen.
Interesting write-up……..Neil
Neil,
Thanks for stopping by. You’re right about the conformity issue. I see a trend in style, just as we have seen each and every decade or so. It’s a common transition, usually unconscious, for woodworkers to emulate those who are in their field of vision most often. That’s why you have “Maloof-esque” rockers everywhere, and Krenov-inspired cabinets on almost every blog. For people to find their true individual voice within the craft they must take the risk and step out of this conformity and imitation. Then and only then will they be truly communicating through form.
Very good insight Neil. Thanks so much.
Adam………..So how do we communicate, then encourage this “stepping out”. Can it be done as a group or is it still romantically presented to be about the individual? It seems alot is lining up for a direction but I’m not sure the internet woodworker see’s that or will open themselves up to wanting to search for new form. Does it purely come from just self-ambition or will it evolve by filtering through new optics?? But where will these new Optics be dispersed from?
Above you mention: “I see a trend in style, just as we have seen each and every decade or so.”
I agree, but what I see different this time is we are currently repeating what the previous generation did in the late 70′s early 80′s. There’s a disconnect in exploration. The teachers are spewing what they know, not what can be. I see a tremendous group potential in the form of small shops, that are all following rather than leading. I see contradictions even from those who should know better that confuse all skill levels and this hinders any direction.
A premise I don’t accept, but maybe it is just plain easier for the internet woodworker to copy a previous form.
Thinking out loud…………Neil
Interesting post Adam. Having just bought a new house, I have spent more hours than I care to admit looking over different furniture pieces trying to decide what I would give in and purchase just for the sake of expedience. I have to say nearly everything we looked at was just crap. Even the “higher end” stores that the general consumer will shop at has nothing but junk on the floor. Tired designs, bad finishes, and the funniest thing I saw was a Morris chair with square pegs driven into round holes!! lol. A sad sight to say the least. Even the pieces that were visually interesting to me used sub par materials and very little in the way of good joinery. So I wasn’t even able to ask the questions you listed above. It wasn’t a question of good vs great. It was crap vs crap.
So the way I see it, defining “fine” furniture really depends on who you ask. An “average joe” with a taste for higher quality might be absolutely thrilled to buy a piece of furniture made by any individual who can construct a solid joint with some level of competence. That romantic notion of something hand-made and the thought of real joinery and a reasonably fine finish might even exceed that person’s definition of “fine” furniture. But what else would we expect if their only exposure to furniture is what they see in the big stores?
When I was doing commissions on a regular basis, I was always disappointed to find out that most clients were happy with “good enough” and rarely wanted to pay for my “finest” work. The pieces I produced were always high quality, but I frequently had to come up with cost-saving solutions that fell considerably short of what I would have done in a perfect world. It can be very difficult to get the average person to recognize the higher quality level that many woodworkers pride themselves in.
My biggest fear is that this trend will continue and eventually very few people will see the value in fine works. Eventually, the question of good vs great may be reduced to an academic conversation between enthusiasts, and nothing more. I hope that doesn’t happen!
Price point vs price point is what you’ll find in …. “Even the “higher end” stores that the general consumer will shop…..” as you mention above Marc. You are not going to find what Adam is asking in fine furniture….in that type of distribution. It’s more about value and I have no problem with that….what is percieved as the best value sells. Correct me if I’m wrong, but Adam, your seeking a “finer” quality through the ditribution of Designer Showrooms and profitable Gallery’s, in the major metropolitan centers.
What individuals who work with wood have to realize, is that whether you referr to it as “Fine Furniture”, “Studio Furniture” , “One Off’s”, “Limited Runs”, etc, you are building in the realm of “Wooden Craft” many people do it, few are successful, and many insist they have to convince people of the “fine quality” they create and try to justify its value. This is an old approach.
The key as mentioned above is in the form created not words justifying value.
Marc mentions above: “My biggest fear is that this trend will continue and eventually very few people will see the value in fine works.” That’s not a trend, that’s the way it is. There have always been “…..very few people who see value in fine work”, but that is because those who determine value are looking for “FORM” not the “skill” of a craft. It doesn’t matter what “technique” or “material” was used to get to an object, what matters is, was the form executed properly and valued by someone.
If we take Adams mention of using visuals of the current rock star, how many pieces of furniture can you identify with the 1960′s. Few probably, but Charles and Elenore Stendig totally got it and not many others did. Many recognize and use a quality judgement, few value to form, that’s nothing new.
Much of the direction one goes in furniture design has to do with economics.
Neil