We’re at a stage where the word ‘masculine’ is complicated to use. ‘There is something sexy about the work in its sense of masculinity, but also in its softness. Made in collaboration with various American craftspeople, including a New England glass studio, a Pennsylvania wood shop and an upstate New York stainless steel fabricator that specialises in custom-made bicycle frames and motorcycle parts, the collection is underscored by a clarity that results in an innate sensuality. There is a refreshing fluidity in Blue Green Works’ collections that is reflected in its embrace of different materials and colours. I enter what I do with an awareness of the rules, but also a disregard for it.

One constant in the collection is a very clear construction and simple use of materials. But the work I’m making has a simplicity and purity to it. ‘Being unconstrained by the rules and dogma of design schools is exciting, though it can also present an engineering challenge. ‘I think I approach designing objects with a kind of freedom, which can be a blessing and a curse,’ he says. Staples doesn’t feel held back by his lack of design training.

‘Trophy’ riffs on a recognisable goblet shape by elevating it in frosted glass ‘Banner’ reimagines the ribbons of classic 1930s and 1940s military tattoos by articulating them in metal ‘Wood’ nods to a skateboarding half-pipe while teaming it with sharper angles the disc-like shape of ‘Shade’ is drawn from the cymbals of a drum kit and ‘Candle’ brings a robust quality to the traditional candelabra. In Blue Green Works’ sophomore collection, Staples has derived the forms by contemplating symbols of power.

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