Yeah.

Uh, you know, it, it, it genuinely saddens me.

Um, I think going in prepared is definitely one thing, but also, you know, I've had clients in the past, not for a wee while.

Um, uh, but I've had a client in the past whose boss often spoke down to her in front of that kind of...

And, and we navigated a conversation at having a friendly enough chat, but with enough authority that was saying, "Look, when it comes to this bit, can you hand it over and let me take that section?" And this is confident communications as being organized, and it's laying out your table and your path and saying, "I'm gonna be talking to you about, um, I'm gonna, here's an overview of what I'm gonna be talking to you about.

And then, um, at the end, guys, I'm going to open it up for some questions.

So please do write down any questions that you have." That means that you're gonna have, A, no bloody interruptions when possible, B, um, more articulate questions, and C, people speaking up that are usually a bit shyer but have a point to make as well.

Mm

Can you walk us through these?

The key person to talk about is David Jenkin, who started in 1945, hired straight from Elam as a young artist and became head of design and had a very good relationship with Tom Clark right through the years.

And so he worked at Crown Lynn until 1979.

A very, I would say, humble man because there's not a lot that we can find out about him.

We've been doing a lot of research.

You know, he was just this really talented, quiet, humble, clever designer.

And I think it was his eye that was responsible for the sort of overall design sensibility of the company all of those years.

And there was obviously a large sort of Pacific influence in a lot of the work and the designs, wasn't there? Yeah.