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Emma Lunn built SECONDI from an improvised furniture resale project in Sydney into a curated vintage business focused on French and Italian furniture and objects. Her account offers a useful buying method: investigate provenance without expecting every piece to retain its label, judge condition in the context of age, study materials and workmanship, and begin with adaptable objects that can move through a home.
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From a family furniture search to SECONDI
Lunn says SECONDI began during the career disruption caused by COVID restrictions. The first step was not a business plan but a family search for a piece of furniture to give her mother for her 70th birthday. The furniture arrived as a set. Lunn and her family kept some pieces, while her brother restored others and sold them at a profit.
That small resale experiment showed Lunn that there was an audience for carefully chosen older furniture. She began sourcing pieces locally in Sydney and selling them. After trying objects from overseas dealers, she says she noticed stronger interest in French and Italian vintage. Five days after international travel reopened, she flew to Paris and Italy to source in person.
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The result is SECONDI, which Lunn describes this way:
“SECONDI is a curation of all of the unique and beautiful vintage furniture and objects that I source on my travels through France and Italy. I’m particularly focussed on authentic and interesting design from the mid-20th Century.”
That description matters because the business is presented as a selection rather than a general second-hand catalogue. Lunn’s emphasis is on design character, authenticity and the story of how an object was found, with particular attention to mid-century pieces.
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Lunn says she returns to the same markets and fairs in France and Italy at least two or three times a year. In her account, the value of returning is not simply the chance to see more stock. Repeated visits let her develop working relationships with dealers who learn what she is looking for.
She says those dealers send photographs of pieces they think will suit her and invite her into private homes and warehouses when she is in Europe. These are Lunn’s descriptions of her own sourcing relationships, not independently verified claims about every dealer or transaction. They illustrate a practical principle for anyone buying vintage: access often improves when a buyer is consistent, specific and prepared to return.
A dealer who knows that you care about a particular period, material or scale can filter a large and unpredictable market. Returning also gives a buyer the opportunity to compare condition, prices and construction over time rather than making decisions from a single photograph or an isolated stall.
Secondi en Aventure: turning sourcing into a regional experience
SECONDI’s activity extends beyond regular drops of vintage objects. Lunn describes Secondi en Aventure as tours through Provence and the Côte d’Azur. The tours are built around the region’s artistic history, design, art, architecture, ateliers, accommodation, brocantes and antique centres.
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Lunn says she had travelled to the south of France for five years and lived there for 12 months during 2024. She presents that time and repeated travel as part of her knowledge of the region. She also says she helps tour guests arrange shipping for goods they buy so those purchases can be sent back to Australia.
The interview does not provide a current itinerary, dates, fare or confirmation of availability. Anyone considering a tour would need to verify those details directly before making plans. The useful idea for a buyer is the combination of context and logistics: finding an object is only one part of an overseas purchase; packing, freight, customs and delivery are separate decisions.
A practical framework for judging vintage quality
When asked what shoppers should look for to ensure quality and authenticity, Lunn advises viewing a piece in person wherever possible. She recommends asking about original maker’s marks or labels, while recognising that marks can wear away and that upholstery may have been replaced. Age and patina are not automatically defects. They are evidence of use that must be interpreted alongside construction and care.
The following framework translates the subjects Lunn discusses into four checks. It is a way to organise questions, not a formal grading system or guarantee.
| Check | Questions to ask | What to record |
|---|---|---|
| Provenance and maker evidence | Is there a maker’s mark, label, stamp or paperwork? If it is missing, could wear, refinishing or upholstery work explain why? | Photographs of every mark, the seller’s account of origin and any known previous ownership. |
| Condition and alteration | Which surfaces show age? Has the item been repaired, refinished or reupholstered? Are the changes stable and described clearly? | Close images of joins, feet, underside, veneer, wiring, fabric and repaired areas. |
| Material and workmanship | What is the object made from? How are the joints, edges, hardware, glass or finish executed? | Material names, construction details and any specialist restoration information. |
| Placement and scale | Will its dimensions, light requirements and visual weight work in the intended room? | Height, width, depth, clearance, cable or mounting needs and a measured installation plan. |
Use labels as evidence, not as the only test
An original label can support an attribution, but its absence does not prove that a piece is modern or inauthentic. Lunn specifically notes that marks may have worn away. Upholstery can also be replaced, so a chair or sofa may contain an older frame with newer fabric. Ask what is original and what has changed instead of treating “original” as an all-or-nothing description.
Request photographs of the underside, back, interior and hardware. A seller who can explain where a mark was found, what restoration was done and when the upholstery changed is giving you more useful information than a bare period claim.
Read patina in context
Scratches, softened edges, colour variation and small repairs can be consistent with age. They become concerns when they affect stability, function or safety, or when a seller presents a heavily altered object as untouched. Ask whether a finish is original, whether damage has been repaired and whether the current condition is suitable for everyday use.
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For upholstered pieces, inspect the frame as well as the fabric. For lighting, ask about rewiring and whether the fitting can be installed safely in your location. For glass, check for chips, cracks and repaired breaks under strong, even light.
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Look for construction, not just a period label
Lunn’s advice does not establish that every vintage piece is better made than contemporary furniture. It does suggest paying close attention to materials and workmanship. Examine joinery, the consistency of surfaces, the quality of hardware and the way an object has been finished. A compelling story cannot compensate for a loose joint, unstable base or undisclosed repair.
If you do not have the experience to assess a valuable piece, Lunn says sourcing through someone with years of relevant knowledge can provide reassurance. That is a reason to ask about the curator’s expertise and the information supplied with an object, not a substitute for reading the condition report yourself.
Materials Lunn returns to
Lunn names oak and elm among her preferred materials, saying they age beautifully. Their changing colour and surface can make wear legible without making an object look anonymous. She also likes cared-for bamboo, which she says develops warm tones over time.
Murano glass is another material she admires for its craftsmanship. She particularly names Mazzega and Barovier as producers she likes. A producer’s name can help narrow an attribution, but it should still be checked against the object’s form, labels, construction and condition. A listing that merely uses the words “Murano glass” does not by itself establish age, maker or provenance.
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Start small with objects that can move around your home
For someone who loves vintage but does not know how to introduce it, Lunn suggests approachable objects such as mirrors, vases, table lamps and wall lights. She values their ability to move between rooms and add individuality without requiring an entire room to be redesigned.
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Mirrors
Measure the wall, nearby furniture and clearance before buying. Check the back, hanging hardware and glass for damage. A mirror can become the focal point of a room, so its frame, reflection and depth should be considered together.
Vases
A vase is a low-commitment way to test whether you enjoy a particular colour, silhouette or material. Inspect the rim and base for chips, look for repairs and ask whether the seller is identifying a maker or simply describing a style.
Table lamps
Confirm dimensions, shade compatibility and electrical condition. Ask whether the cord, plug and internal wiring have been replaced. A lamp that looks right but cannot be safely used may require restoration costs that change its real price.
Wall lights
Check how the fitting mounts, where wiring enters and whether the shade or diffuser is complete. Confirm that an electrician can install it under local requirements. Wall lights can add character, but they are less portable than a vase or lamp once installed.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Mixing vintage with contemporary furniture
The easiest way to combine periods is to give each object enough space to be seen. A vintage mirror can sit above a contemporary console; a mid-century lamp can bring warmth to a newer desk; a single glass vase can interrupt a run of uniform objects. The aim is a relationship between pieces, not a room in which every item comes from the same decade.
Common mistakes follow from treating vintage as a theme rather than as individual design. Buying several statement pieces at once can make a room feel staged. Ignoring scale can leave a delicate lamp beside oversized furniture or a large mirror crowded by surrounding objects. Matching every finish too closely can remove the variation that makes older pieces interesting.
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- Measure the room and the intended position before buying, including doors, stairs and installation clearance.
- Choose one or two anchor pieces, then let quieter contemporary items support them.
- Repeat a colour, material or shape once or twice instead of matching every object.
- Keep practical needs visible: seating comfort, lighting levels, safe wiring and stable surfaces.
- Leave room to live with a piece before adding another major object.
How to buy when you cannot inspect the piece in person
In-person viewing is Lunn’s preference, but distance purchases are sometimes unavoidable. Ask the seller for a complete set of photographs in consistent light: front, back, sides, underside, interior, marks, damage and repairs. Request exact measurements and ask what the dimensions include, such as a lampshade, frame or protruding hardware.
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Get written answers to five points before paying:
- What is known about the maker, date and previous ownership?
- Which components are original, and which are replacements?
- What restoration, reupholstery, rewiring or refinishing has been carried out?
- What damage is present, including chips, cracks, stains, looseness or odour?
- How will the object be packed, insured and delivered?
Save the listing, photographs and correspondence. If the delivered condition differs materially from the description, those records are the clearest basis for resolving the problem. For an overseas purchase, calculate shipping, insurance, taxes and possible restoration before comparing the total with a local alternative.
A repeatable sourcing plan inspired by Lunn’s method
You do not need to travel to France or Italy to apply the underlying process. The method is to define your interests, build informed relationships and return to reliable sources.
- Define a brief. Write down the periods, materials, colours, object types and maximum dimensions that suit your home.
- Learn the vocabulary. Identify common construction terms, makers and restoration issues for the category you are buying.
- Visit more than once. Compare several dealers, fairs or galleries instead of judging the entire market from one visit.
- Share specific preferences. Dealers can alert you to suitable pieces when they know your measurements and priorities.
- Inspect before committing. Use the provenance, condition, material and placement checks together.
- Record the object. Keep photographs, measurements, attribution, restoration notes and purchase documents for future care or resale.
Lunn’s reported pattern of returning to markets two or three times a year shows how patience can be part of sourcing. A desirable piece may not appear on the first visit, and a relationship is more useful when it is maintained rather than activated only for an urgent purchase.
Questions to ask before calling a piece “authentic”
“Authentic” can mean different things: an object from the claimed period, a design by the named maker, original materials, an unaltered condition or simply a vintage object with a credible history. Clarify which meaning the seller is using.
- Is the attribution documented or an informed opinion?
- Does the form match known examples from the claimed period?
- Are labels, hardware, finish and construction consistent with the attribution?
- Which parts have been replaced?
- Is the price based on a maker, rarity, condition, materials or the seller’s curation?
This wording protects the buyer from a common misunderstanding: an object can be old and attractive while still having uncertain authorship. Uncertainty is not automatically a reason to reject it, but it should be reflected in the description and the price you are willing to pay.
What SECONDI’s story shows about building a vintage business
Lunn’s path combines three decisions. She started with a manageable local experiment, watched which objects attracted interest, and then moved toward the French and Italian sourcing that matched her own design focus. She built access by returning to markets and maintaining dealer relationships. Finally, she expanded the idea of sourcing into guided regional travel through Secondi en Aventure.
For a buyer, the lesson is practical rather than aspirational: good curation depends on a clear point of view and sustained attention. Whether you are choosing a single wall light or furnishing a larger room, ask what makes the object compelling, what evidence supports its story, what work it needs and where it will live. Those questions turn an impulse purchase into a considered piece of the home.
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