Sebastian Herkner

It wasn’t until he was contacted by Oliver Holy, the owner of German brand ClassiCon, who wanted to buy a table for himself, that things started to fall into place. Holy loved the design so much he asked Herkner if ClassiCon could produce it, and in 2012 it was officially launched by the brand in a side table and coffee table version.

The table’s popularity was unprecedented and it continues to sell consistently today; so much so, that the 454-year-old, family-run Bavarian glass factory where Herkner made the table’s very first prototype, is now working at full capacity to keep up with demand.

The Bell table’s elegant craftsmanship, simple functionality and enticing use of color and material are qualities that are replicated throughout Herkner’s portfolio of work, which stretches over 15 years. Since setting up his eponymous studio in 2006 he has worked with some of the design world’s biggest brands including &Tradition, Sancal, Linteloo, La Chance, Very Wood, and Pulpo, among others. Today his studio of five in Offenbach works on up to twenty projects at a time including furniture, lighting, accessories and interiors.

Reflecting on where his love of design came from, Herkner talks of his childhood growing up in a small village of 200 people in the south of Germany near the town of Bad Mergentheim. Unlike some of his design contemporaries, where the family’s connection to creativity is obvious, Herkner’s parents were not working in the industry. In fact, his mother was a nurse and his father was an electrician, and “design” was not discussed at all at home. However, the family were keen travellers, and each summer would embark on trips across Europe in their Mitsubishi camper van taking in culture, craftsmanship and architecture along the way.

After graduating Herkner made his way to London where he took an internship with Stella McCartney in 2006. Her studio – which at the time was located in a former church on Golborne Road – was still in its infancy, but here he would learn an important lesson: that being a designer required not only creativity and talent but also drive, determination and individuality.

Herkner also credits his impeccable skill for combining colors to his time spent with McCartney, noting that his time there taught him how to combine colors with materials and work at different scales. In his work today he often combines several bold blocks of color in one piece – such as on his Caribe and Cielo chairs for Ames – or will use one vivid shade to add drama to simple forms, as demonstrated in his glass Alwa and Mila tables for Pulpo.

Herkner sees it as his responsibility to create products that fit seamlessly into a brand’s existing portfolio while also pushing boundaries; this is often achieved through innovative use of color and material. A recent example is his 118 chair range for German chair brand Thonet where he created a simple, classic design that features the company’s archetypal bentwood frame and wicker seat but comes in a striking glossy lacquered finish. “It was just a small tweak, but it was something completely different for Thonet,” he says of the gloss finish. “At first they introduced it with just one color option but it was so popular they now they offer it in six.”

“I’ve really enjoyed spending more time at home with friends and family, going to the local market, buying vegetables there, cooking – and just having time to cook actually!” he enthuses. “Of course I miss the factory visits and those are still important – to be able to meet the craftspeople and use your senses to see, touch and smell the prototypes – but I think in this time we’ve had a chance to rethink our attitude to consumption and fast furniture. I think we need to think more about slow furniture.”

Fifteen years on from launching his own studio and Herkner has transitioned from “emerging talent” to “established designer”. Presently he is enjoying the variety that his works offers – as well as furniture, he is working with clients on lighting, tiles, sunglasses, wood-burning stoves and numerous interior design projects. It’s an enviable position for a designer and he is keen to stress, not something that happened overnight. For the next generation of designers, he offers up some words of wisdom: “Work anywhere you feel comfortable and in a place you can afford. Work with local companies. Find your own identity and philosophy. Work hard and be patient, it takes time, so use that time wisely.”