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 Monica Khemsurov & Jill Singer, the co-founders of Sight Unseen.

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C: What tips would you give to a collector who wishes to start collecting contemporary design?

Monica Khemsurov & Jill Singer: Many people are going to answer this as “buy what you love, not as an investment!” and while I think that’s true — and we advocate for that very strongly in our book, How to Live With Objects, which has a lot more detailed tips on how to collect, like how to shop recent grad work and how to develop personal relationships with makers — I would also say: Don’t buy anything until you know what you love. Our book also has tips for how to do that, but the reason I mention it is because social media and the gallery/collecting market have both turned into powerful echo chambers, where you can get a bit lost thinking you need to have this thing or this look that everyone else has, and it’s insidious — it’s easy to start wanting those things without really realizing you’ve been sucked into a pre-scripted style or trend. And the problem with that is that you should be collecting things you will love for a really long time, your whole life ideally, and it’s harder to find longevity in work that you’re seeing everywhere and start to get burnt out on, or that you’ve been influenced to buy for the wrong reasons. If you really take time to find your truest personal style and forge lasting personal connections with makers and works, there’s a better chance you’ll stay in love with your collection forever.

Also, assuming longevity is important to you, be careful about materials. Have a conversation with the gallerist or maker about how a piece will realistically hold up or age over time, and do research where you can.

C: What role does storytelling play in enhancing the value and appreciation of collectible design objects within a collector’s portfolio?

MK & JS: It plays a huge role, because it enhances your personal connection to those objects, as we again talk about a lot in our book. Which is the entire basis of why we collect objects in the first place — because they make us feel good, and trigger us to think about stories and memories. When you know the story of how an object was made, or by whom, or what the inspiration was behind it, and you connect with that story, and you purchase something, you’re acquiring both the object AND the story. However, I would also argue that there’s a lot of joy to be found in anonymous objects as well, whether they come with a story of how and where you found them — maybe you were on vacation somewhere special, or they were a thoughtful gift from a friend — or they feel mysterious and inspire you to imagine what their past or their story might have been. I think part of collecting is curating your collection, with a very personal point of view, and some of the most memorable collectors from the past with the strongest points of view were able to find joy in, and connections between, all types of disparate objects. I personally really enjoy that.

C: Can you talk about a gallerist, whom you admire?

MK & JS: Peggy Guggenheim. She was such a badass b*tch. Her museum in Venice is breathtaking, Her Calder headboard has induced envy in generations of collectors. She nurtured so many careers. She had affairs with some of the world’s greatest artists. What an incredible way to spend your personal fortune and live your life.

C: What tip would you give to young designers who wish to focus their practice on collectible design?

MK & JS: If you’re a sensitive person like me, the commerce side of things will always feel a little yucky. Get a gallerist to handle that stuff if you’re able to and focus on the contribution you’re making to culture. Then try to give back to your community as much as you can.