Terminology: What Is a Considered Object
The word "considered" gets used a lot in design and fashion right now, usually as an adjective applied to anything that costs more than fifty dollars and comes wrapped in tissue paper. That is not what we mean by it.
A considered object is one in which every decision, material, proportion, finish, weight, even the way it will age, has been made consciously rather than by default. It is the opposite of a product that was designed by brief. It is the result of someone asking "why" at every single stage and not moving forward until the answer was satisfying.
The difference between expensive and considered
Price and consideration are not the same thing. Some of the most considered objects in the world are inexpensive. Some of the most expensive objects on the market are as thoughtless as fast fashion, just made from better raw materials.
What makes something considered is not the cost of production. It is the depth of thought behind the choices. Why this material rather than that one? Why this proportion? Why this finish? What does this object do to the energy of the person who holds it or wears it or places it on a shelf? What will it look like in five years? In twenty?
A considered object has answers to all of these questions, even if those answers are never stated explicitly. You can feel the answers in the object itself.
How considered objects behave differently
A considered object does something that most purchases don't: it gets better with attention. The more you look at it, the more you see. The longer you own it, the more it becomes a part of the aesthetic world you're building rather than a thing sitting inside it. It has a kind of authority that derives from the certainty of its own design. It does not need to announce itself.
This is what distinguishes an art object from an ornament. Both can be beautiful. But only one of them has a point of view.
Why the market undersupplies this
The market is very good at producing things that look considered from a distance. A clean silhouette, a muted color palette, a natural material. The visual language of consideration is reproducible at scale; the actual thing is not.
Real consideration takes time. It requires revision and rejection and the willingness to start over when something is almost right rather than exactly right. It requires a maker who cares more about the object than the deadline. None of that is compatible with the pace at which the fashion industry prefers to operate.
This is why considered objects tend to come from small studios, from individual designers, from places where the person making the decisions is also the person who has to live with them.
What we mean by it at Double Kick
At Double Kick, every piece in the archive has to pass a specific internal test before it belongs here. Does it have weight, literally and figuratively? Does it look like it was made by someone with a point of view rather than a production schedule? Would it look more interesting in ten years than it does today?
If the answer to any of those questions is hesitation, the answer is no.
The pieces that make it through are the ones that feel inevitable. Like they couldn't have been made any other way. That inevitability is what we mean when we call something a considered object. Not "thoughtful" in the soft, generic sense. Considered in the specific sense: someone thought about this, hard, all the way through, and every decision is evidence of that.
—Sara
Founder & Creative Director
