From his Sarasota workshop, Vice & Virtue Furniture founder Corey Gannon creates custom, handcrafted furniture that blends the simplicity of mid-century modern design with the precision of traditional Japanese technique.
Gannon’s journey began when he returned to Sarasota after serving in the U.S. Marine Corps. in 2006, and has since evolved into a successful and fulfilling word-of-mouth business that brings artistry and history into everyday living. That’s because he names his pieces after centuries-old, oft-forgotten Roman emperors and Egyptian mathematicians, like Aurelius and Hypatia.
We caught up with Gannon to learn more about his career journey and design philosophy. We also asked him if Hurricane Helene impacted his business, and he said it had not. This interview has been edited for length and clarity.
How did you first get into making furniture?
“I officially started in 2006, after I came home from the Marines. My wife was a schoolteacher, so we weren’t in a high-income situation, and we needed furniture for our new house. I thought, ‘Why not make it ourselves?’ At first, the stuff I made was terrible, but over time, I got better at it and found a market for my work. My first great piece was a dining table that we gifted to friends in 2009. I could barely use a drill, but necessity pushed me to learn. It was the early days of YouTube, but there was enough information out there to get me started.”
Tell us about the name of your business, Vice & Virtue
“It’s a little bit of both. Does anyone need a custom table to eat a meal or 100 hours to make a table? No, but appreciating what nature gives us is nice. Art is the same. We don’t need it, but it’s really nice to have. I avoid being too precious about it, though. I don’t put anything on a pedestal, either. So there’s this duality for me.”
What was the process like as you grew your skills?
“It took a few years of making terrible stuff before I created something I was proud of. It’s a very tactile business. No matter how much you study, you learn by doing. My father-in-law, who worked in construction, helped me a bit, and eventually I built a shop next to my house. The capital costs were enormous, but having the shop at home helped because I didn’t have to pay extra rent. It wasn’t just about making things to sell, though—I genuinely enjoy the process, even if it’s a tough business.
“To be honest, it’s an awful business plan. It takes a lot of capital to start, and without years of experience, you don’t [yet] have the proficiency and technique. But a lot of it comes from enjoyment. The first time I delivered a table and saw the client cry, it just felt so good. I knew I was doing something meaningful.
“If a furniture maker said they were masters of something, I’d be suspicious. The techniques and styles and number of ways you can create things are inexhaustible.”
What inspires your designs?
“My style is a fusion of Japanese techniques and mid-century modern design, which is kind of a bizarre combination, but I love it. The simplicity of mid-century and the craftsmanship of Japanese design really speak to me. I’m also interested in Art Deco, and I’ve started exploring that. I’m working on an Art Deco-inspired coffee table right now, but I won’t release it until I’m completely proud of it.”
How long does it take to make a custom piece?
“It depends on the complexity, but anywhere from one to three months is typical. For example, if I dropped everything to focus solely on a dining table, it might take about a month. However, it’s usually longer because of the finishing process and sometimes material scarcity. I apply a coat, wait 24 hours, and repeat. I’m a one-person shop, so right now, I’m scheduling projects for the fall.”
What materials do you use?
“Wood is always the foundation. Sometimes I incorporate custom-fabricated steel or a little leather, but it’s mostly wood. I use domestic and exotic timber, and I combine traditional hand tools with power tools, using methods that range from brand-new to thousands of years old. For instance, a lot of joinery was figured out by the ancient Egyptians, and we haven’t made huge advances since. I might use modern tools, but the principles remain the same.
“You could spend a lifetime patinating. I do it to silver. You guild silver leaf and apply sulphurated pot ash and then freak out, hoping it doesn’t burn through. [Patinating] was the one formal class I took and I had to go to California to learn it. The teacher, David Marks, learned it in Japan.”
How do you approach the business side of things?
“Honestly, I never did a deep market study when I started. I just knew I enjoyed making furniture, and that’s how I’ve built my business. I avoid advertising and rely on word of mouth. I’m active on social media, but I try not to be too commercial. So far, it’s worked out great, and I’ve been fortunate to have wonderful clients. We usually have a lot in common, so that’s a bonus.”
What’s the most challenging part of your work?
“Time and effort. It took years of making furniture, taking photos, and having no one see anything before I sold my first piece. It’s self-sustaining now, but getting here was tough. It’s not a business you can just dive into without significant time and financial investment.”
What do you love most about what you do?
“I get to make beautiful things. It’s that simple, but it’s a rare thing nowadays. I’m lucky to be at a point where I can say that.”
What do you wish more people knew about the industry?
“Industry seems like an enormous word. I’m happy to work on such a small scale and exist outside of the industry. I wish more people considered the origin of things they buy, from clothes to food. Every time we buy something, it’s a vote for something.”