Interview: Peter Gregson Studio

Our approach is almost always the same, but the circumstances are specific.

Peter Gregson is a design studio that surpassed both geographical and creative borders of the environment they started their carrier in. Their work is relevant in the design community, featured in prestigious magazines and design books.The Gregson crew is responsible for the overall visual identity of GIR. We talked about the process of creating an identity, about freedom and responsibility in work and the impact that furniture has in our lives.

GIR Symbol

G: You are currently working on branding both GIR Store and the factory in Kraljevo. What’s the difference between the two approaches?

PG: Our approach is almost always the same, but the circumstances are specific. We let the situation to impose the solution through analysis, intuition and work. This is how we come to solutions which are not solely a personal reflection but a functional response to different challenges. In the end, it’s not really important if it’s a factory or a store – every task is potentially different. The key is to have maximum interest and responsibility.

G: How do you perceive/see GIR?

PG: One thing is the image development of GIR which can be seen through the work that is already done. A second important aspect is our experience of people and the company from the outside. The most conspicuous feeling is to create a new entity in this region which has the potential to transform its environment. Someone who gives an example of “how it should be done”. We believe in concrete examples. We also feel close to GIR because of the similar system of values and shared practices, which is rare to encounter in business sphere in our country.

We have the chance to think and act outside of the usual framework of design, and that is amazing.

G: What is the most exciting thing in building a communication channel between a brand and their customers/followers?

PG: Simply put, that would be the moment of inspiration. What is even more exciting is the feeling of positive manipulation perhaps. It’s a feeling similar to parental pride.

G: As we already said, your studio surpassed the limits of the environment from which it emerged. What this means for you exactly?

PG: It doesn’t change anything essentially, but everything seems possible.

G: Of all the things that you worked on regarding GIR, is there a particular process or approach that you hold most interesting or important?

PG: We have the chance to think and act outside of the usual framework of design, and that is amazing. Also we are more than usually included in the process from the beginning and we have freedom and responsibility to create the brand image. That being said, we do feel like an integral part of the whole thing, and everything seems equally important.

G: Furniture design and production – how close is this field to you? Did you encounter similar projects by far?

PG: Personally, it is very close to us. We are hooked on designed furniture. Professionally, we often encounter solving problems regarding space. We do have a different perspective. Our way of looking at things is graphic and conceptual. Also, we do work on a lot of projects that are connected to furniture design and industry, which helps us scrutinize business and logical aspects of the vocation. Right now a strong regional development in furniture design and production is occurring. Some circumstances are coming together, ideas, people… it is very exciting to be a part of it all.

G: How much of an impact does furniture have on our lives today?

PG: It is immeasurable and complex. Just as architecture and design in general. As soon as we google some extraordinary quote on the subject we’ll let you know.