Marmalade Issue 5, 2017
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e Goulder family were<br />
making furniture in the 1920 s , selling to lea<br />
ding department ores of the day. e move<br />
to Bowral, regional NSW, probably mirror<br />
ed the marginalisation of the indury our ci<br />
ty centres over the course of the second half<br />
century<br />
of the 20th . is move seems to mirror ho<br />
w few Auralian furniture companies have<br />
managed to achieve intergenerational succ<br />
ess from the perspeive of being at the cu<br />
tting edge of trends. Goulder has talked<br />
about his hatred of all the decorative yles<br />
that poured through the Goulder worksho<br />
p. His university degree in furniture design<br />
enshrined a new direion that kept him at<br />
tuned to trends of the contemporary intern<br />
ational marketplace for design. But, that is<br />
exaly what the Viorian designs were of<br />
their<br />
Australian design<br />
examples of an international yle being p<br />
ushed by the British Empire, which had the<br />
bigge trade routes in the world. Auralian<br />
design is always a refleion of the changin<br />
g nature of globalised trade. We do not init<br />
iate those changes but we inherit & adopt o<br />
ur own way of living to them. e Broached<br />
Goulder colleion will, in part, be a refle<br />
ion upon these sometimes quite personal &<br />
traumatic divorces between one period of<br />
design & another. In the end, it is individ<br />
uals who create design, & in the inance of<br />
Goulder it was the mo talented maker of<br />
the family deciding to take his talents into<br />
a new era of globalised design. Broached<br />
Goulder is about leaving home & going hom<br />
e again, as a mid-career praitioner, through<br />
the work.<br />
time;