Ted Synnott: A 'legitimate' career

Ted Synnott, Slow table: ‘An expression of traditional stone typologies in solid American oak. The rounded edges invite tactile exploration.’

It’s not unusual for someone to be drawn to a creative career and not only question whether it is a good idea, but also be questioned by those around them. The story of Ted Synnott is one of a designer whose need to address the uncertainty surrounding his life choices gave him the drive to succeed on the international stage.

Synnott initially embarked on a marketing degree at university before realising it wasn’t for him. Taking an internship with the luxury men’s fashion brand, Dadelszen, Synnott had the opportunity not only to work alongside the founder but also to spend time with Cheshire Architects, who had been engaged to develop and manage the fitout of the flagship store.

Excited by the creative environment, Synnott was keen to extend the internship: ‘I wanted to continue at the end and Eddie, the founder, told me, you’ve got heaps of good ideas but you have no hard skills. It was crushing to hear at 21 but it was true’.

‘The Otama chair is defined by its strict perpendicular structure and softened joinery.’

At this time Synnott also endured a series of injuries which required surgery on both shoulders. In the process of his recovery he shaped a surfboard following YouTube videos and surprised himself with the quality of the outcome. ‘I had this perception that I was really impractical – that it was an inherent thing’, he says of this period. In what he calls a ‘leap of faith’ he enrolled in a year-long course at the Centre for Fine Woodworking in Nelson and moved there to gain some hard skills. ‘I didn’t even know how to handle a chisel at the time. I had previously tried to make one stool, which now when I look at it, was definitely half baked. I had this crazy formative year down there, woodworking and rock-climbing. The course gave me solid practical skills and the ability to start to make tangible, ideas that had stayed conceptual for too long.’

Following the course, Synnott moved home where he cleaned up an unused farm building and established a small workshop of his own. He split his time between developing a portfolio of his own work and working in a production making role for established brand Douglas & Bec.

‘The Pillar Table takes its name from its distinctive cylindrical legs. It is a generously proportioned solid American white oak table with simple, honest detailing.’

Synnott juggled generating and executing commissions on his own and, like many designers in the early stages, found it incredibly tough. However it was in this workshop that he built his first designs, which included the first iteration of his Volume table. A ‘serendipitous discovery when drawing cubes’, later became the first product that was picked up by major brand Audo.

Despite early successes, Synnott was feeling isolated living on a rural farm, far from a creative community. In an effort to change his environment, Synnott applied for, and secured, a working grant from Creative New Zealand. This allowed him to live more centrally, join a shared workshop and spend a year developing a new collection of work.

Pillar table detail

It was a trip to Greenhouse at Stockholm Furniture Fair 2023 with this new collection created predominantly from American white oak that saw a change in his fortunes. With a rocky start, shipping furniture during one of Auckland’s worst incidents of flooding and being unsure if would arrive water-damaged, the design fair facilitated many good connections. ‘I met people like John Tree and Chris Martin from Massproductions. All these people I’d looked up to for ages and they were positive about my work. It was super validating. It gave me a new sense of confidence in my work.’

A week after Greenhouse he was approached by Audo, enquiring about the availability of his Volume and Otama collections. The initial exchange that led to Volume table’s success and the start of a relationship that continues from strength to strength.

‘An exploration of fundamental forms led to Volume. Made from three identical tessellating pieces, it is distinctly different when viewed from each of its four sides.’

Now with his Volume table selling well and American white oak designs currently in development with Audo, what has Synnott learnt from his unconventional design journey? ‘I’ve learnt to present my work clearly and confidently but whilst still being myself. I sometimes wonder if it would be more effective if I were more forward but it’s not my thing. Progress in this industry can be slow, you need to be really patient.’

All of this is of course true, but what Synnott has proved is that being a good designer is necessary but not sufficient for success. Consistent persistence in navigating a difficult industry matters hugely, as does seeking out and building connections. Some would say luck has a big part to play but, as Synnott’s story proves, if you want it enough and can battle through moments of self-doubt, you can control your own destiny.

Learn more about Ted Synnott at https://www.tedsynnott.com/

Story from American Hardwood Export Council (AHEC) americanhardwood.org