KÚYA 18Today, the process remains pretty much the same: Myrie does a little
sketch, nothing too detailed, and sets out to make whatever piece of
furniture, fixture or accessory he is commissioned or is interested in
designing. If there are changes to be made, he makes them along the
way but essentially this process ensures that there is a little bit of his
creativity in every piece. “It’s about 50/50 the way people approach
me for pieces; some people come here with a design, others ask me
to take one of my own designs and modify it for their own purposes.
In our business we really should be stockpiling our raw materials,”
Myrie explains, “but I’m always building so we never get the chance.
Everything we make goes back into the business.”A visit to the showroom reflects this 50/50 approach with modern
(updated) versions of ‘traditional’ pieces (chairs, settees, bar stools)
displayed alongside more bespoke pieces such as oversized hanging
lights, metal and mixed media (including wicker) coffee tables,
hanging chairs, up-lighting fixtures, accessories and chandeliers.
“I think consumers are open to a little bit of design when it comes
to buying pieces for their homes. Take the hanging lampshades for
instance – they may not be ready to hang them in a big cluster but
maybe they’d take home one or two. Wicker furniture isn’t just for(seaside) villas, I think the pieces can be incorporated into any décor
from modern to traditional. Many of our pieces are in residences in
Kingston.”Business is consistent, he says, but what is his vision for the future of
the company? “So far I think I have exceeded my expectations in terms
of style and creativity. The response to our products has been great ...
It hasn’t necessarily translated to (lots) of work -- but that will come, it
just takes time."Chairs and stools range from JMD $18K to $25K each while other
larger pieces of furniture are $150K -$175K. Everything is done on
property; the welding of the metal frames, the upholstery, the wicker
(which is actually the process of weaving and not the material itself )- while the cane-like grass used in the weaving comes from Portland
where it is hand picked, stripped and dried by local farmers. “I don’t
think you can just price something based on labour and materials,
you have to also price in the creativity. We have a culture and history
here of wicker, it was definitely an inspiration of mine to keep part of
that culture alive. I have brought my take on these modern designs,
but wicker has been having a come back for years,” Myrie says. ∆
Craftsman Michael Coleman
Craftsman Donovan Robinson