Profile... Design Legacy
When Jane Lomax Smith came to Adelaide from London in the 70s, her impression of the city was of a cosmopolitan, mediterranean place. She remembers being drawn to the unusually sophisticated and idealogically unique nature of Adelaide in the Dunstan era.
Words by Amanda Pepe
Photo by Vanessa Heath.
When she discovered the JamFactory, at that stage still located in an old jam factory on Payneham Road, she was especially drawn to it. “It had an ethos that was familiar to me,” Jane says. “The JamFactory doesn’t just demonstrate perfection in design – creating heirlooms.. It also embodies a respect for the dignity of work and [the idea] that apprenticeships can lead to an honorable career. That was a package that I was happy to subscribe to.”
On reflection, Jane wonders if her childhood proximity to a famous design icon in the UK set her upon the path to a lifelong appreciation of great design.
“I felt I grew up in the shadow of William Morris,” she says, referring to the British textile designer, poet, novelist, translator, and socialist activist born in 1834 and associated with the British Arts and Crafts Movement. “We lived within a mile of Morris’ childhood home which was also my closest museum.”
Jane feels that exposure to his political and design views on crafts and artisanal skills and the value of work meant that the views that underpinned the JamFactory resonated with her when she became aware of them.
“We lived close to the River Lea in East London where the fine furniture factories were located. My great, great grandfather was a master craftsman and those skills were passed down through the family. For this reason, I always understood what simple tools could do in the right hands.”
Although Jane herself didn’t follow her ancestors into a trade, instead pursuing an academic path, she was imbued with respect for a well-designed object made with skill and the beauty that such objects, even when functionality was the primary pursuit, can possess. She became a lifelong supporter of JamFactory, purchasing many works that now grace her home. But ultimately, she realised there had to be more to the relationship.
“You can’t be a customer forever,” she says. “The things I do have [from JamFactory] will become heirlooms but there is only so much space in the house. Now I want to help support people to learn skills and enjoy the dignity of being a maker.”
Jane became a Medici Legacy member, ensuring her support will continue beyond her own lifetime.
“What do you do when you die?” she muses. “I’ve always had a will. I am a pathologist so have a practical attitude towards death.”
“I believe that if you are lucky enough to have assets, you should have a plan to share them when you die. COVID has reminded us to get our lives in order and consider our legacy.”
Reflecting on her own circumstances, with children likely to be well into older age by the time she herself dies, Jane believes a small percentage left to an organisation would not be missed in the winding up of an estate. “Five, ten, or even 20 per cent would not be missed but can make a huge difference,” she says. And, in the case of JamFactory, potentially change the lives and careers of future artists and artisans.”
“Because I performed autopsies throughout my career, I was aware that life can end suddenly. It is important that you think things through and get proper legal advice,” Jane says. “Also, let your expected beneficiaries know what you are planning and what your wishes are.”
In Jane’s view, JamFactory is creating a modern means for artists and makers to access the same support she saw in England as a child, where master craftspeople were able to ensure their skills were preserved and passed on.
“The JamFactory is globally unique. It taps into the vein of the Guild movement – having a master mentor and support learning through masterclasses and programs.”
With a distinguished career in politics in South Australia, including a period as Lord Mayor of Adelaide, and stints as director and chair of institutions such as the South Australian Museum and, more recently, the Don Dunstan Foundation, Jane has insight into what organisations need to ensure their future success.
She is driven by the view that the support of private philanthropists has never been more important, as government support, particularly for the arts, has diminished. “I think the trajectory over the past 10-20 years has been indicative of what the future will be like. It is hard to imagine any organisation that hasn’t lost funding. And even with the government funding that has remained, the value of it has gone down,” she says.
It is clear the rewards for Jane of a lifetime of philanthropic involvement go well beyond a collection of beautiful objects and artworks and her commitment to a legacy with JamFactory allows the idea of support for the creation of such beauty to continue long into the future.