VOLUME II / ISSUE XII / DECEMBER 2018
diversity of culture that I experienced made me yearn to understand humans of all walks of life and has made it easier to connect authentically to people with whom I have nothing in common. Adaptability is a powerful thing and I wouldn’t have an ounce of it without the uncomfortable situations that come only from moving every few years. KR: What advice would today’s Sophie give to young Sophie who started Haiti’s Jewels at age 17? SWF: I would encourage her to be the sole definer of her worth and to never allow her value be determined by those who can’t see it. KR: You’re an industrial designer by trade. That seems to be a male-dominated industry. How do you think women in the industry challenge it as a whole? I think there was a small part of me that chose this industry because it would give me an opportunity to redefine it — both for myself, my peers, and anyone who was influenced by my work. Traditionally, industrial design curriculum is structured to push graduates into mass manufacturing of appliances, cars, household products, etc. We were taught extensively about high-powered mechanical manufacturing, spent hours modelling in SolidWorks, had to do free design work for massive corporate tool/hardware companies, and the jobs that were recommended to us kept us behind a computer screen communicating with factories across the planet.
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I approached design from a totally different perspective that I had gained in Haiti and grown to love: that of slow design, small-scale production, sustainability, dignified labor, and familial relations between workers, designers, owners and managers. It was impossible for me to imagine designing microwaves for home goods stores for the rest of my life… and I refused to let my design education put me in a box. I came into school quite cavalier. I had confidence thinking that if I was good enough at what I created, that I could do anything in my program. Although I maintained that mindset, and still do today, it was an uphill battle in which my professors (both male and female) consistently tried to define design for me. I think the issue in Industrial Design is not that it’s male-dominated (it is) but that there aren’t enough people, both male and female, that are willing to challenge the direction this industry has taken. It would be wise to ask ourselves how consumerism is affecting the planet and be willing to explore other means of production. KR: What is that which you call design? SWF: Design, to me, is in everything I do. It’s a matter of choices really. The clothes I wear, the food I eat, my home, activities I choose to participate in, whatever I do, say, and create. Each of our lives is an empty palette, and the things we fill it with help define who we are and what we create.
KR: How do you think design impacts society and ultimately the people you design for? SWF: Design helps us feel like we have a unique place within our community, gives us freedom to express what cannot be spoken, and most importantly, gives us purpose. Everybody creates a persona for themselves within society and the people that I design for, while diverse, all strive to subtly push the boundary — make statements that don’t have to be loud to be heard. KR: What emotions do you feel when you create and how do those emotions physically come into existence through your designs? SWF: I feel really strong and excited… often getting butterflies in my stomach as something new unravels — it feels like the whole world is an endless, wide-open field where I can define my reality and every time I create, I’m tapping into it. I think women who choose to wear my jewelery, bags, or clothes are invited to feel empowered to start tapping into a similar well of opportunity in their own lives. KR: Are you smart or do you work hard? SWF: I think the biggest thing I’ve learned since graduating from design school (this past May) is that busy-ness does not always equate with progression. For the longest time, I would over-fill my plate, commit to wild-goose chase projects, and try to keep my days packed with conference calls, meetings, trunk shows, designing, and whatever else kept me busy. But in the end, I was just spinning my
tires, not realizing that while the engine was engaged, my vehicle stood still. I’ve started prioritizing quiet time during my week, setting aside moments and sometimes days to just read, meditate, think, and exist. Don’t get me wrong, I still work hard for what I want… but I’ve made a conscious effort to start saying NO to things that do not directly serve the development of my design projects and YES to peaceful time that refuels me. That’s the smartest thing I’ve done since starting my business. KR: How would you describe the color yellow to a blind