This series, COLLECTIBLE In-Depth, unveils the backstage of contemporary creation. Tackling various topics from personal designer processes to the position of collectible design on the global design market, COLLECTIBLE In-Depth offers different views to suit all tastes. Today we speak with Coryander Friend owner and curator of Placed.

Back to Editorial

COLLECTIBLE: How did you get into collectible design? Why did you start your gallery?

Placed:  I assisted a very chic set designer in my early 30’s who worked with all of the iconic fashion photographers at the time, so I shopped the best vintage and contemporary design available in LA and NYC, which led to my briefly opening a shop in the DTLA Arts District, and getting to know all of the legendary LA Dealers. Cut to, I realized I’m more event driven than retail space oriented, and in 2012 I started an indie design fair in the DTLA Arts District called Parachute Market, where I showed artists and designers, even curatorial platforms, design stores, fashion folks—some notables were: Alma Allen, A Current Affair, B Zippy, Ravenhill Studio, Jason Koharik, Elyse Graham, Nickey Kehoe, Henry Taylor, Mohawk General Store, Cliff Fong, JF Chen…..it was an exciting time for what is now this boom in this market of what I’ve heard coined as "the intersection between art and design.” Placed was born not long after my daughter in a major relocation from Los Angeles to Montana in 2020. I saw the ceramic work coming out of The Archie Bray Foundation, and the wide open space for a contemporary art and design platform that simply didn’t exist in the Bozeman/Livingston area—there was an opportunity for novelty and wonder. I was also inspired to engage with my small community of Livingston, Montana, and creating aesthetically provocative environments is my love language.

C: What do you think about the position of contemporary collectible design on the design market? How do you think the contemporary collectible design market is evolving?

Placed: I mean, as someone who also operates as an art advisor, I’d say the state of the high end art market, in general, is obviously not what it was, currently. As a result, “functional” and collectible decorative art and design has had a boom in terms of being a safe bet. It’s something you get to live with, share with others, appreciate, use—without this idea that it might tank in value. It is what it is, and it’s pure beauty and pleasure. Yay. 

C: How do you position your city in the global design market, what makes your city unique, trends?

Placed: Well, my city has 8,000 people, and while an historically magnetic place for creatives, it’s certainly not considered a beacon of the design market—but that’s what makes it so exciting for me! From a global perspective, people from all over the world are buying and building homes (many second, third, etc.) in Big Sky, Bozeman, Paradise Valley, and now the Shields River Valley, quite close to Livingston, where I live. I have access to an incredible client base, it’s just a bit more “Wild West” in terms of connecting with folks—but it’s happening! If you build it, they will come.

©Simon Leung

COLLECTIBLE: How did you get into collectible design? Why did you start your gallery?

Placed:  I assisted a very chic set designer in my early 30’s who worked with all of the iconic fashion photographers at the time, so I shopped the best vintage and contemporary design available in LA and NYC, which led to my briefly opening a shop in the DTLA Arts District, and getting to know all of the legendary LA Dealers. Cut to, I realized I’m more event driven than retail space oriented, and in 2012 I started an indie design fair in the DTLA Arts District called Parachute Market, where I showed artists and designers, even curatorial platforms, design stores, fashion folks—some notables were: Alma Allen, A Current Affair, B Zippy, Ravenhill Studio, Jason Koharik, Elyse Graham, Nickey Kehoe, Henry Taylor, Mohawk General Store, Cliff Fong, JF Chen…..it was an exciting time for what is now this boom in this market of what I’ve heard coined as "the intersection between art and design.” Placed was born not long after my daughter in a major relocation from Los Angeles to Montana in 2020. I saw the ceramic work coming out of The Archie Bray Foundation, and the wide open space for a contemporary art and design platform that simply didn’t exist in the Bozeman/Livingston area—there was an opportunity for novelty and wonder. I was also inspired to engage with my small community of Livingston, Montana, and creating aesthetically provocative environments is my love language.

C: What do you think about the position of contemporary collectible design on the design market? How do you think the contemporary collectible design market is evolving?

Placed: I mean, as someone who also operates as an art advisor, I’d say the state of the high end art market, in general, is obviously not what it was, currently. As a result, “functional” and collectible decorative art and design has had a boom in terms of being a safe bet. It’s something you get to live with, share with others, appreciate, use—without this idea that it might tank in value. It is what it is, and it’s pure beauty and pleasure. Yay. 

C: How do you position your city in the global design market, what makes your city unique, trends?

Placed: Well, my city has 8,000 people, and while an historically magnetic place for creatives, it’s certainly not considered a beacon of the design market—but that’s what makes it so exciting for me! From a global perspective, people from all over the world are buying and building homes (many second, third, etc.) in Big Sky, Bozeman, Paradise Valley, and now the Shields River Valley, quite close to Livingston, where I live. I have access to an incredible client base, it’s just a bit more “Wild West” in terms of connecting with folks—but it’s happening! If you build it, they will come.