Working in both design and making, ‘s practice is defined by longevity rather than trend. Alongside collaborator Adam Markowitz, Dux was named winner of category at the 2025 for . The project stood out for the rigour of its concept and the clarity of its execution.
Accolades aside, Dux’s path to this point has been shaped by years of hands-on making. He began work as a carpenter and continued this for a decade, during which he found inspiration for both the and process of designing pieces. To develop his talent and further his learning, he returned to study at the Melbourne Guild of Fine Woodworking (The Guild), where he applied himself to -making under Alastair Boel.
His time as a carpenter taught him to ‘work fast’ but still retain a refined and delicate touch. Even so, transitioning from furniture maker to designer-maker took a little more time. Surrounding himself with beautiful pieces made by the craftspeople at The Guild helped him to shape his ideas and visions.
“I was continually exposed to exceptional quality design and over time it seeped in, I learnt what small details really make a piece stand out versus what characterises a poor imitation,” explains Dux.
Now with his own workshop in , Dux is in high demand, designing and making pieces inspired by Émile-Jacques Ruhlman, a leading figure of the period and Niels Vodder, master cabinetmaker of Danish Modern design. Working on commissions for leading architects, Dux has quietly gathered a dedicated following who know and appreciate fine design and expert .
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Dux’s design philosophy centres around the idea of longevity. This philosophy is underpinned by the idea that objects can be handed down through generations. “A piece of furniture that can last as long as it takes for another tree to grow, where I know I’ve done the justice, pays tribute to the material,” he reflects.
Timber is Dux’s material of choice, leading him to select exactly the right species for each design, taking into account grain structure, density and whether the wood has a closed or open pore. He works consistently with sustainable American Hardwoods and favours walnut, oak, cherry and maple.
Once the material is selected Dux creates a design that includes one or two focal points and then ensures that every detail is refined for a perfect result. For example, the Sham Bedsides feature double bridle leg joinery, hand carved cove profiles with dovetailed piston fit drawers and shiplap back panels.
As a designer and maker, furniture that is well made is paramount for Dux. “It doesn’t matter if the design’s really good if it’s going to fall apart in five years,” he comments.
While Dux is busy at his workshop and with private commissions, he will be collaborating with Markowitz once again on another project for a tourist centre along Victoria’s Great Ocean Road. For this commission he is crafting four curved sculpted benches which will act as the centre’s focal point and, while he admits the commission will be a physically demanding job due to the weight and complexity of the pieces, he has no doubt the result will be something remarkable.
Australia has a deep pool of highly skilled designer-makers and Dux sits comfortably among those shaping contemporary furniture practice. Works such as the Flame Table, Art Deco Wall Unit and Josh’s Watch Box offer a clear view of his approach.
Dux is part of a broader cohort of Australian designer-makers whose work is helping to define a contemporary culture of making. Furniture produced with this level of care and expertise brings a lasting quality to interiors, shaping spaces through material integrity rather than excess.
is the proud supporter of The Object category at the 2026 INDE.Awards.
Simeon Dux
Photography
Courtesy of Simeon Dux
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