Anthony Burke's By Design

Extraordinary Everyday: The dressing gown

Today, the dressing gown is as likely to appear over pyjamas during a dash to the bins as it is at a lazy breakfast table — but it wasn’t always this casual. Once, this was a garment that signalled leisure, status and a certain velvet‑chair‑owning elegance. In this episode, we wrap ourselves up and trace the surprisingly stylish design history of the dressing gown, from indulgent luxury to everyday comfort.

Mary Featherston: Design, disruption and advocacy

When we think about design in Australia today, it’s impossible not to trace its evolution back to pioneers like Mary Featherston, AM. A leading force in shaping a more human‑centred approach, Mary has spent decades reimagining design as something embedded in our everyday environments — not just objects, but experiences. From transforming the way we think about learning spaces to helping define a distinctly Australian mid‑century modern design language alongside Grant Featherston, her influence runs deep. These days, however, Mary sees herself as more of an activist than a designer. So just how did she get there? And does design still have a role to play in her activism?

Extraordinary Everyday: The esky

From cricket sidelines to camping trips, the esky is an essential tool of getting out and about, making sure cold drinks are always within reach. It’s so familiar it feels stitched into Australian life. But where did the esky actually come from? And is it really an Australian design, or something we simply made our own?

Will the budget finally make it easier to buy a home?

What does the federal budget really do for Australia’s housing crisis? Peter Martin from The Economy, Stupid joins Anthony Burke from By Design to examine whether changes to tax settings will make it any easier to buy a home. And what impact it will have on rents.

Inside Eurovision’s high-stakes world of spectacle design

Once a punchline, now a powerhouse. For decades, Eurovision lived on the fringes of Australian culture — loved by some, dismissed by many. But when Australia entered the competition in 2015, perception began to shift. What was once mocked for its camp excess and theatrical scale moved steadily into the mainstream. After 70 years of spectacle, ambition and visual escalation, how has Eurovision gone on to influence the way entertainment is designed today?