Meet the Maker - Tom Spain
Based on ‘From Hackney to Walthamstow, and 48 years in the making’ - an interview with our E17 neighbours Blackhorse Lane Ateliers.
Blackhorse Lane Ateliers sat down with Tom Spain, Production Manager at VG&P and our sister brand Isokon, whose woodworking journey spans nearly five decades. Starting as a teenage apprentice in the Lea Valley’s booming furniture scene, Tom has seen the evolution of East London’s making culture—from its heyday to its quiet transformations.
Tom’s story is one of commitment to the craft, shaped by experience, resilience, and the enduring values of good design. With a deep knowledge of furniture making and a long-standing relationship with Isokon and its collaborators, Tom brings a unique perspective on what it means to build things that last.
Hi Tom, can you tell us a bit about yourself?
I’m just about 64 years old now—thought I’d be retired by this point, ha! I was born in Hackney, grew up in Walthamstow, and originally came from an Irish Catholic background—now I’m a JW.
I left school at 15 and started an apprenticeship with Lebus Furniture. I had dreamed of going into medical research, but I had to get to work and support myself. I married my wife Linda in 1985—we’ll be celebrating 40 years this year—and we have two children, Louise and Michael, who are both married now.
Tell us about your career path and your current role at Isokon.
I was the last apprentice taken on by Lebus before they closed in 1980. After that, I worked briefly in a cycle shop in South Kensington before returning to furniture in 1984, joining N.H. Normans in Tottenham. Later, I worked at Chartwell Furniture, where I learned how to run a workshop under my boss, Ken Fall.
Today, I’m the Production Manager at Isokon, a role I’ve held since the company’s move to Hackney Wick. I joined Mark (Smoth) in 2010 after a stint at Windmill Isokon and have been working with him ever since.
What lessons from your apprenticeship still stay with you?
One that’s stuck with me came from my college lecturer. I had just won a furniture industry award at Tottenham Tech, and he told me: “Remember, you’ll never know it all—keep on learning.” That’s stayed with me ever since.
What was the Lea Valley furniture scene like when you started out?
It was booming—massive, really. The area had giants like Lebus, Cabinet Industries, Beautility, Schreiber, Austinsuite, Olympus, Wrighton’s, and Stonehills. Thousands were employed across the area, from Enfield to Hackney Wick. There were timber yards, veneer suppliers, hardware shops—you name it.
When did you start seeing the industry scale down?
It was around 35 years ago. The big employers—those with 500 to 600 workers—were the first to go. By the late '90s, even the smaller workshops with 20–30 people started closing their doors.
You ran your own furniture company in the late '90s and early 2000s. What were the challenges?
Running my own business was mostly enjoyable—we were making high-quality furniture and getting steady work. But my biggest mistake was avoiding the admin side. I left that to my partner, which didn’t work out in the end.
What led you to join Isokon?
After closing my company, I joined F. Smith & Sons and brought my client list with me. I stayed there until they retired. That’s when I saw the job at Windmill Isokon in Chiswick. I thought, Why not?—the challenge of the daily bike ride was an added incentive.
When Windmill closed, I worked briefly with John Cherrington, but commuting to Ickenham on a bike became too much—60 miles a day wasn’t ideal. So when Mark (Smith) moved Isokon to Hackney Wick, I joined him again, and the move to Walthamstow followed after the VG&P merger.
What does your role as Production Manager involve?
I coordinate production based on what the sales team brings in. I make sure everything runs smoothly so orders go out on time and the workshop works together efficiently. It’s all about pulling in the same direction.
Were you a rebel growing up?
Not really—maybe a little at school. I used to skip lessons to spend time in the science labs. Once I even helped our biology teacher, Mr. Potter, perform an autopsy on a dead dolphin.
What’s your favourite piece of furniture at home?
It’s a Wellington chest made from Brazilian mahogany veneers, with kingwood and solid rosewood mouldings. If I had the chance to make something I’ve always admired, it’d probably be the Gropius side table. Most coveted? The Carlo Mollino dining table from 1950.
What defines good design or an iconic piece to you?
Good design should be practical, stylish, and a bit innovative. Iconic design? It has to be instantly recognisable—and desirable.
What advice would you give to future makers and designers?
Be ready to adapt.
Do you believe in the ‘10,000 hours to mastery’ rule?
Not completely. Time alone doesn’t make you a master. You need a good teacher, natural aptitude, and a decent amount of ability—then put in your 10,000 hours.
What do we need to support future makers?
We have to start again with schools. Practical skills need to be taught as essential life tools. And we need more government support for companies to train and nurture talent.
