Giles Nartey translates African rituals into bold design objects

The article showcases a solo installation titled 'If Chairs Could Talk' by London-based artist and designer Yinka Ilori, presented in collaboration with The Shop at Bluebird. Ilori is known for his work with upcycled furniture, and this particular collection draws inspiration from his Nigerian heritage, specifically traditional Nigerian parables and African fabrics. The chairs are characterized by their vibrant colors and narrative elements, aiming to tell stories through their design. This installation is part of the London Design Festival and will be on display until November 27th, 2015. The collaboration highlights a fusion of cultural storytelling with contemporary design practices, where discarded furniture is transformed into unique, culturally rich pieces. Ilori's creative process involves selecting chairs, often found or discarded, and then reimagining them with new upholstery and paint, integrating patterns and themes derived from Nigerian culture. Each chair in the 'If Chairs Could Talk' collection is intended to represent a specific parable or aspect of Nigerian tradition, effectively giving a voice to inanimate objects. This approach not only provides an aesthetic transformation but also imbues the furniture with deeper cultural meaning and narrative. The use of traditional African fabrics, known for their bold colors and intricate patterns, plays a crucial role in conveying these cultural narratives. Through his work, Ilori bridges the gap between art, design, and cultural heritage, offering a unique perspective on sustainability and storytelling through repurposed objects. The exhibition at The Shop at Bluebird provides a platform for these discussions, inviting viewers to engage with the chairs not just as functional items but as pieces of art that carry historical and cultural weight. The installation underscores the potential of upcycling to create new value and foster cultural appreciation. The project demonstrates how design can serve as a medium for preserving and reinterpreting cultural narratives, making them accessible to a wider audience. The chairs, once ordinary, become extraordinary artifacts, each speaking to a rich tapestry of Nigerian wisdom and artistry. This initiative reflects a growing trend in design towards sustainability, cultural authenticity, and storytelling, presenting furniture as more than just utilitarian objects but as carriers of memory and meaning. #UpcycledFurniture #NigerianDesign #AfricanFabrics #YinkaIlori #LondonDesignFestival #CulturalHeritage #SustainableDesign #ArtisticFurniture #InteriorDecoration

African design is increasingly gaining global recognition for its unique magnetism and rich heritage, shifting from a previously overlooked status on the international stage. This burgeoning movement is championed by a new generation of designers who are skillfully blending traditional African craftsmanship with contemporary aesthetics, bringing a fresh perspective to furniture, textiles, and art. Among these prominent figures is Chrissa Amuah, founder of Amwa Designs, a London-based studio that creates textiles, furniture, and art inspired by Ghanaian sensibilities. Her 'Asanka' table, for instance, incorporates a jesmonite interpretation of a traditional West African grinding bowl under a glass top, with its wooden base drawing from the Ghanaian Adinkra symbol Adinkrahene, representing authority and leadership. Amuah's designs often feature vibrant color combinations and off-center silhouettes, embodying a balance of strength and vulnerability. Another notable presence is Altin Studio, founded by Mehdi Kebaier and Yasmine Sfar in Tunisia. This studio celebrates local design by utilizing native materials like sea rush, clay, and palm wood. They reinterpret age-old techniques through a contemporary lens, evident in pieces like the 'Ganymede' cabinet, which contrasts woven sea-rush panels with earth-red metal, referencing satellite patterns. Their 'Petite Ourse' seat, hand-carved from palm wood, also draws inspiration from celestial themes, alluding to the 'Little Bear' constellation. From Lagos, Nigerian designer Nifemi Marcus-Bello leads Nmbello Studio with an ethos rooted in empathy and respect for people and places. His work, developed over the past decade, has garnered several awards, including the Hublot Design Prize and the Curator’s Choice: Design for Good Award. His 'Oríkì' series, particularly 'Act 1: Friction Ridge', explores materiality and form through bronze sculptural benches, named after the Yoruba practice of praise poetry, and launched with an immersive installation featuring a soundscape of his mother reciting his personalized oríkì. In Johannesburg, Thabisa Mjo, the creative force behind Mash.T Studio, produces furniture, lighting, and homeware that celebrate South Africa's diverse cultural tapestry. Collaborating with artisan communities, she incorporates materials such as colored beadwork and repurposed telecommunication wire, traditionally used by Zulu watchmen, into pieces like her 'Bright Light' pendant and '4Kona Light'. Her recent lighting collections honor Xhosa customs and circular architectural forms found in rural areas, employing vibrant palettes that signify abundance and festivity, thereby promoting local crafts globally. Rich Mnisi, a Johannesburg-born designer, initially made his mark in fashion before venturing into collectible furniture. His work bridges the gap between function and art, drawing inspiration from the women in his life, queerness, and heritage. Pieces like the 'Nwa-Mulamula' chaise, displayed at Southern Guild’s ‘Mother Tongues’ exhibition, reflect the reclining body of his great-grandmother, showcasing a striking fluidity and organic elegance. His new work, ‘Vutlhari (Wisdom)’, a light crafted from bronze and resin, also features sweeping silhouettes. Zimbabwean artist Xanthe Somers draws on her homeland's customs for her hand-built ceramic sculptures, often functional as lighting and vases. Her 'In Bad Taste' collection challenges the political aspects of design, critiquing Western overconsumption and the impact of eco-racist practices on the global South. Her work, displayed in prestigious venues like London’s V&A; Museum, features vivacious colors, exaggerated silhouettes, and thought-provoking narratives. Don Tanani, a contemporary Egyptian brand, aims to redefine Egyptian design and showcase local talent. Collaborating with designers like Lina Alorabi, whose work has been exhibited internationally, the brand focuses on reclaiming Egyptian identity through sophisticated pieces. Alorabi’s 'Moruna' collection features a conversation chair, a curvaceous sun lounger, and coffee tables with tile patterns, reflecting the dynamism of Cairo and collaboration with craft experts. Finally, South African ceramicist Chuma Maweni began his journey crafting vessels using a pit-firing technique intrinsic to the Nguni people, developing a distinctive aesthetic of dark, porous surfaces and hand-formed sculptural outlines. After opening his Cape Town studio in 2016, his work, including the 'Imbizo' dining table and stools, has been exhibited globally and acquired by institutions like the Metropolitan Museum of Art, continually celebrating traditional craft through a fresh, contemporary lens. #AfricanDesign #Craftsmanship #ContemporaryDesign #FurnitureDesign #TextileDesign #CeramicArt #CulturalHeritage #EmergingDesigners #GlobalDesign

The article explores the collaboration between designers Stephen Burks and Malika Leiper of Stephen Burks Man Made, and the Italian wood veneer company Alpi, to translate the intricate patterns of Kuba cloth into a contemporary design product. Kuba cloth, a raffia textile handcrafted by the Kuba people of the Democratic Republic of Congo, originated in the 17th century and served as a significant status symbol among the ruling class. While it was once thought that the tradition of Kuba cloth declined after the kingdom's fall due to internal rebellions and colonization, Burks and Leiper discovered during a visit to Kinshasa that this ancient art form is, in fact, thriving among a new generation of artists and makers in villages. Burks clarifies that the perception of Kuba cloth as a 'dying artform' is a Western misconception, often influenced by the commodification of 'prestige cloths.' His and Leiper's practice, Stephen Burks Man Made, is dedicated to demonstrating the current vitality of Kuba art, emphasizing that for Kuba to have a future, it must have a present. Their efforts include producing a documentary, curating an exhibition in Japan, and designing the scenography for an upcoming show at the Mint Museum in Charlotte, North Carolina, all centered on their research into Kuba cloth. A pivotal project in their endeavor is the collaboration with Alpi, a company established in 1919 and renowned for its designer collaborations with figures such as Ettore Sottsass, Alessandro Mendini, Konstantin Grcic, Patricia Urquiola, and Ron Arad. Alpi's president, Vittorio Alpi, expresses a passion for experimentation and invites designers to create unique pieces that push the boundaries of industrial production, granting three-dimensionality to Alpi surfaces. At Design Miami 2025, Burks and Leiper unveiled their collection of sculptural furnishings, titled 'Lost Cloth Object,' which translates the geometric patterns of traditional Kuba textiles. This collection, presented as part of the fair’s 2.0 section curated by Glenn Adamson, serves as a conceptual starting point for a commercial veneer that will be developed with Alpi. Burks highlights that their practice consistently investigates the intersection of craft, community, and industry. The design process involved creating a Kuba-inspired motif using thousands of laser-thin sheets of FSC-certified poplar veneer, a technique that embodies both repetition and variation, mirroring the inherent qualities of Kuba cloth. Leiper explains that each motif in Kuba cloth carries social meaning, indicating the maker or wearer, and often mimics natural shapes, acting as a language in itself. The use of variegated veneers from Alpi’s Legacy Collection adds another layer of significance, as these veneers replicate the appearance of endangered wood species like ebony, teak, rosewood, and zebrawood, without contributing to deforestation. Vittorio Alpi notes that this collection allows for the reproduction of rare woods sustainably. The 'Lost Cloth Object' collection features a curved platform, round stools, and a circular partition with integrated shelving, designed to evoke both Alpi’s postmodern collaborative tradition and the sacred, ceremonial contexts in which Kuba cloth is traditionally used. While the specific sculptural objects will not be mass-produced, the 'Lost Cloth Object' pattern is intended for further development as a commercial veneer. Burks concludes that the project honors the traditions of the Kuba Kingdom by combining African patterns with natural wood in a sculptural, modern application, connecting to Alpi's legacy of surface design. #AfricanTextile #KubaCloth #StephenBurksManMade #Alpi #DesignCollaboration #VeneerDesign #Craftsmanship #DesignMiami #CulturalPreservation

Dana Arbib, the designer behind the brand A Peace Treaty, has established a New York headquarters that serves as a physical embodiment of her globally-inspired aesthetic. After completing a two-year residency in the CFDA Incubator, which provided office space in Midtown Manhattan, Arbib sought a more distinctive environment for her brand. Her search led her to a pre-war building on cobblestoned Lispenard Street in Tribeca. The studio space was chosen for its blend of modern and rustic elements, a departure from the corporate office settings Arbib wished to avoid, thus preserving her creative freedom. A significant draw of the Tribeca studio was its existing floor-to-ceiling shelving and a functional rolling library ladder. These features proved ideal for displaying the myriad of objects Arbib collects during her extensive travels. Her journeys take her to diverse locations, from Pakistan to Peru and Turkey, where she sources textiles, learns traditional production techniques, and acquires unique baubles. The displayed artifacts include handwoven bags and accessories procured from an artisan market in Cuba, a custom-designed leather trunk from India, and a train case from London, now repurposed for transporting jewelry. The studio's decor also incorporates family heirlooms, such as a collection of masks from South Africa and Namibia dating back to the late 1970s, a piece of art by Israeli artist Michael Argov, and an Egyptian tomb statue. The design of the studio was not merely an accumulation of these global finds but was directly influenced by A Peace Treaty’s Resort 2017 collection. This collection drew inspiration from the rich legacy of woven African art, featuring crocheted caftans, scarves, and intricately embroidered textiles. This thematic connection is evident throughout the workspace, with numerous pieces from Africa, including baskets and handmade crafts, integrated into the decor. Most of the baskets in the studio are from Rwanda, with the exception of a leather-handled bolga basket crafted in Ghana. Arbib emphasizes that these elements celebrate traditional handmade techniques, a core value reflected in both the brand's collections and its workspace. The studio, therefore, functions not only as a functional workspace but also as a curated showcase of global artistry and Arbib's personal narrative of travel and cultural appreciation, offering an alternative to mass-produced decor. #HomeDesign #InteriorDesign #GlobalInspiration #TribecaStudio #DanaArbib #APeaceTreaty #TextileArt #CulturalDecor

Bernhardt Design has unveiled its 'Duality' collection, a collaboration with British-Ghanaian designer Chrissa Amuah, featuring a series of upholstery textiles. This collection includes six distinct patterns and 56 colorways, all deeply inspired by Amuah's Ghanaian heritage. Her design vision is rooted in the rich symbolism, textures, colors, and traditional patterns observed during her trips to Ghana, where these symbols are intricately woven into everyday life, from jewelry to architecture. Amuah's objective was to create a contemporary and aesthetically pleasing design blueprint that also carries profound, empowering messages, whether consciously or subconsciously communicated. The 'Duality' collection comprises six main designs. One prominent pattern is 'Aya,' which draws inspiration from the West African Adinkra symbol for fern. Amuah explains that the fern symbolizes endurance and resourcefulness, conveying a message of hope. She created this pattern using a super-fine chenille yarn that floats above the abstracted fern symbols, achieving an overlay effect. 'Aya' is designed to be paired with 'Still,' a monochromatic textured fabric available in 18 rich colors, allowing for versatile combinations. Another innovative design is 'Ink,' which Amuah developed by drizzling ink onto walnut veneer, allowing it to bleed into the wood grain. This process resulted in unique, abstract patterns with limited designer control, emphasizing the organic spread of the ink to form distinctive lines. These abstract patterns were then replicated on thick, textured chenille and produced in four different hues. 'Ink' is envisioned to complement 'Snug,' a textured bouclé fabric, offering a harmonious blend of patterns and textures. The collection further incorporates Ghanaian inspiration with the 'Sella' textile, named after the Latin word for 'stool.' This design pays homage to Ghana’s traditional asesegua seat, which has a long history and various forms, from common wooden stools to elaborate royal versions. Amuah hand-sketched the fabric's design, abstractly interpreting the familiar shapes of the asesegua. The final material in the collection is 'Touch,' a finely textured fabric crafted from two complementary yarns in contrasting shades, which creates a fine pattern with notable vibrancy and depth. Beyond patterns, Amuah also meticulously explored the symbolic meanings of colors in the collection's palette. She emphasizes that colors function as visual indicators that work in conjunction with patterns to form a complete narrative. The interpretation of color meanings can vary based on context, such as the intended message, occasion, status, or even age. Jerry Helling, president of Bernhardt Design, praises Amuah's artistry, highlighting her ability to transform deeply personal ideas into accessible and sophisticated design forms, abstracting her inspirations into modern and beautiful fabrics. The 'Duality' collection stands as a testament to the seamless integration of rich cultural heritage with contemporary design principles. #UpholsteryTextiles #GhanaianHeritage #BernhardtDesign #ChrissaAmuah #TextileDesign #InteriorDesign #CulturalInspiration #AdinkraSymbols #AfricanDesign

In Lagos, Nigeria, PatrickWaheed Design Consulting (PWDC), co-led by Adeyemo Shokunbi, is spearheading a movement to integrate local materials into contemporary architectural practices, aiming to establish a distinctive Nigerian architectural language. Their focus has been on laterite, a readily available local resource, which they have developed into a modern finishing technique. PWDC's investigations extend beyond surface aesthetics, exploring laterite's potential as a natural dye and its thermal properties to enhance building performance. The firm's work with laterite in projects like the Mad House and Abijo Mosque in Lagos has been instrumental in showcasing the material's versatility and aesthetic appeal. Adeyemo Shokunbi emphasizes the importance of exploring traditional knowledge and materials to create architecture that is not only sustainable but also culturally resonant. The use of laterite aligns with principles of environmental sustainability by reducing the carbon footprint associated with transporting imported materials and supporting local economies. The aesthetic quality of laterite, with its earthy tones and varied textures, offers a unique visual identity that connects buildings to their geographical context. Beyond laterite, PWDC is actively researching other indigenous materials, aiming to revive and adapt them for modern construction. This approach involves a deep understanding of the material's properties, traditional application methods, and innovative techniques for contemporary use. The firm's commitment to material research and development is crucial in an era where globalized architectural styles often overshadow local traditions and resources. By reintroducing local materials, PWDC seeks to foster a sense of place and identity in Nigerian architecture, challenging the reliance on imported materials and their associated environmental and economic costs. The adoption of local materials also presents economic advantages, as it can reduce construction costs and create local employment opportunities. This model of architectural practice promotes a circular economy, where resources are sourced locally, processed, and utilized, minimizing waste and maximizing community benefit. PWDC’s efforts serve as a case study for how architectural design can be a powerful tool for cultural preservation, environmental stewardship, and economic development, offering valuable lessons for architects and designers globally who are seeking sustainable and contextually appropriate solutions. #LocalMaterials #Nigeria #Finishes #WestAfrica #ArchitecturalLanguage #Textures #ContemporaryArchitecture #Laterite #Tyrolean #PatrickWaheedDesignConsulting #AdeyemoShokunbi #BuildingMaterials #TraditionalMaterials

This article introduces Shadé Akanbi, a Brooklyn-based freelance pattern designer and the Creative Director and Designer behind Printed Pattern People. Akanbi's design philosophy is rooted in her multicultural upbringing, which has instilled in her a passion for creating global fusion lifestyle and brands. Her work involves translating traditional ethnic patterns and textiles into contemporary interpretations suitable for everyday use. Akanbi's creative process often begins with identifying a specific motif or detail from traditional textiles. This chosen element then serves as the central inspiration, around which she constructs new patterns using fresh colors and additional details. She is prolific in her output, creating between one to six prints daily, drawing inspiration from personal collections, client ideas, or a combination of both. Akanbi is known for her collaborations with various brands, in addition to maintaining her extensive collection of global textiles. Her first major collaboration was with Anthropologie in early 2020, where her artwork was featured in an accessories and sleepwear collection. Since then, she has partnered with notable brands such as Intermix, Zuri, S'well, Chasing Paper, Netflix, and Target. Her most recent collaboration at the time of the article's publication was with Bounty Paper Towels, as part of their Inclusive Artists Project initiative. This partnership involved her artwork being featured on the Bounty Prints collection paper towels and her image appearing on the packaging, an experience she described as surreal due to the widespread nature of the household item. The article highlights Akanbi's ambition and future aspirations. As an avid traveler, she expresses a desire to collaborate with airlines and boutique hotel brands, specifically mentioning Delta, Jetblue, Kimpton, and Hyatt, envisioning these as platforms to showcase diverse art mediums. Her interest extends to athletic footwear brands like Nike, Adidas, Puma, and Vans, reflecting her passion as a sneaker collector. Furthermore, her background as a collegiate basketball player and a fan of the NBA/WNBA drives her dream to work with her favorite sports teams. Ultimately, Akanbi seeks to partner with brands with which she shares strong personal connections, aiming to utilize these collaborations as unique avenues for artistic expression. Her personal history significantly influences her artistic vision. Akanbi recounts how her upbringing, from her mother's styling choices to her father's Nigerian cooking, and her early travels, particularly her first trip to Nigeria, profoundly shaped her as an artist. These diverse experiences, encompassing sights, sounds, textures, tastes, and emotions, have cumulatively impacted her design sensibility. Her ability to blend cultural influences and her innovative approach to pattern design underscore her unique position in the design world. The article concludes by encouraging readers to explore more of Shadé Akanbi's work via her Instagram and mentions a past collaboration where she provided a Designer Desktop wallpaper for Design Milk. #PatternDesign #ShadeAkanbi #TextileArt #CulturalFusion #BrandCollaborations #ArtisticProcess #DesignInspiration #GlobalTextiles #CreativeDirector

The article highlights the collaboration between Ghanaian spatial design studio Limbo Accra and London-based multidisciplinary design practice Alaska Alaska, focusing on their shared philosophies regarding design communities and empowering the next generation of Black design innovators. Limbo Accra, founded by Dominique Petit-Frère, has established a robust network through global partnerships with prominent urban space-makers and architectural enthusiasts. This collaboration is part of a series exploring critical issues in contemporary design, such as design intention, intergenerationality, creativity, and change within Africa and its diaspora. Tawanda Chiweshe, the studio director of Alaska Alaska, is a key figure in this discussion. Described as a ‘creative navigator’ and designer, Chiweshe leads Alaska Alaska, a practice originally founded by Virgil Abloh. The studio's core mission is to foster young talent in the design industry, providing career-advancing opportunities and thereby empowering a new wave of Black design innovators. Chiweshe and Petit-Frère's connection was solidified during the development of Freedom Skate Park, Ghana’s inaugural recreational skate park. Their shared vision extends beyond this project, encompassing beliefs in the potency of design communities, the significance of serendipitous connections, and the practical application of these elements to develop tangible design solutions. Chiweshe addresses the exclusivity often present in the design world, acknowledging that the process, which is inherently instinctive, frequently marginalizes certain individuals. He emphasizes Alaska Alaska’s commitment to dismantling these barriers by empowering its team members to articulate their thoughts and encouraging those within their influence to do the same. This approach is crucial for fostering inclusivity and diverse perspectives within the design sphere. His personal experiences, from schooling in Hertfordshire to art school in London, reveal that his cultural background has often been considered an outlier. However, this background has also served as a steadfast 'anchor,' providing a unique lens through which new experiences are contextualized and understood. Chiweshe came to realize that design perspectives rooted in his heritage hold significant value and deserve the same recognition and esteem typically afforded to established figures like Le Corbusier. This realization underscores the broader theme of challenging conventional design hierarchies and embracing diverse cultural contributions. He argues that addressing complex issues within design requires 'intersectional solutions,' recognizing the interwoven nature of various social and cultural factors. Alaska Alaska’s work exemplifies this principle through its integration of both practical and theoretical approaches, which aim to uncover new design paradigms and make these changes tangible. The studio's efforts are pivotal in laying new design pathways for future generations, advocating for a re-evaluation of established design perspectives and values. Alaska Alaska serves as a crucial site where these transformative changes are actively taking place. Chiweshe also discusses his creative process, citing the concept of a ‘cutting room floor’ as a significant inspiration for a media piece. He views the elements typically discarded in the creative process as more important than the final product, seeking to present work in a state that is not yet finalized or conventionally showcased. This methodology involves displaying multiple pieces concurrently, allowing them to forge their own relationships and narratives. #SpatialDesign #BlackDesigners #DesignInnovation #CulturalHeritage #DesignCommunity #GhanaianDesign #LondonDesign #VirgilAbloh #IntersectionalDesign

Australian interior designer Greg Natale has unveiled his first collection of luxury decorative objects for the home, a 50-piece range crafted from precious materials like marble, shell, and brass. This new line, which includes boxes, vases, ashtrays, bowls, bookends, coasters, and trays, marks Natale's inaugural venture into home accessories since establishing his Sydney-based interior design business seventeen years ago. He has previously focused on larger interior elements such as tiles, rugs, carpets, and wallpaper, but recognized a gap in the market for high-quality accessories that met his specific aesthetic and functional requirements for client projects. The collection was three years in development, a period Natale dedicated to sourcing the finest craftsmen globally to ensure the exceptional quality of each piece. He emphasizes that accessories are the essential finishing touches that complete a room's look, underscoring their importance in interior design. The choice of materials reflects Natale's preference for natural elements and metallics. The lids of the decorative boxes are intricately inlaid with dyed shell, while solid brass forms the basis for bowls, which are often elevated on boule feet or plinths. Candlesticks, vases, and trays are meticulously carved from various types of marble and stone. Natale appreciates the inherent patterns and colors offered by marble and shell, finding them to be rich and dynamic materials. He also highlights brass for its ability to introduce warmth and a burnished glamour into interior spaces. Natale's decision to create his own line of accessories stemmed from a personal need; he often struggled to find decorative items that aligned with his vision while decorating for clients. This challenge motivated him to "roll up his sleeves and create it himself," viewing it as an opportunity to fill a void in the luxury home accessories market. He approached the design of these smaller objects with the same meticulous attention to detail and creative philosophy he applies to designing entire rooms or houses. While the scale differs, the underlying design principles remain consistent: each accessory is considered a design in its own right, yet its role within the broader creative scheme of an interior is always kept in mind. Looking ahead, Natale plans to expand the collection further, with ceramics slated to be added next year. This expansion indicates a sustained commitment to offering comprehensive design solutions, moving beyond foundational elements to encompass the decorative details that personalize and enhance living spaces. The launch of this collection positions Greg Natale not only as a leading interior designer but also as a purveyor of finely crafted home objects, contributing to the discourse around the use of luxury materials and thoughtful design in home decoration. His work echoes that of other designers, such as Tom Dixon, known for marble tableware, and Mathieu Lehanneur, who creates marble furniture inspired by ocean surfaces, showcasing a broader trend of utilizing natural, high-end materials in contemporary design. #GregNatale #HomeAccessories #LuxuryDesign #MarbleDecor #BrassDecor #ShellInlay #InteriorDesign #AustralianDesign #ProductDesign

Yinka Ilori, a 34-year-old Nigerian-British artist and designer, integrates vibrant colors and energetic shapes into his diverse projects, ranging from architectural installations to furniture and housewares. His early exposure to "color blocking" within London's multicultural immigrant communities profoundly influenced his artistic vision. Ilori's work aims to evoke euphoria and foster connection by merging the rich sensory experiences of his Nigerian heritage with a distinctive, thought-provoking aesthetic. He transforms public spaces, such as creating a carnivalesque installation at London's Somerset House or re-imagining a drab underpass with rainbow tones, to bring joy and vibrancy to urban environments. One of Ilori's notable projects is the "Colour Palace," part of the 2019 London Festival of Architecture. This contemporary wooden structure, inspired by Lagos's Balogun fabric market, featured brilliantly colored geometric forms that interlocked and shifted, reflecting both his heritage and London's multiculturalism. In 2015, his "If Chairs Could Talk" series involved painting discarded street chairs in bold colors, transforming them into symbolic thrones. This project drew on the inherent power of chairs to convey status and the resourceful, sustainable practices observed in his parents' village in Nigeria, where everyday objects are ingeniously repurposed. More recently, Ilori designed "Creative Courts," a Technicolor basketball court situated amidst the skyscrapers of Canary Wharf, a major financial district in London. This location holds personal significance for Ilori, who visited it as a child when his parents worked there as cleaners. He recalled the area feeling "alien and uninviting" due to its imposing architecture and perceived wealth, a stark contrast to his childhood home. His aim with the court, adorned in orange, yellow, lime green, purple, and bright pink, was to challenge the area's glass-and-steel uniformity and empower the community to "reclaim a sense of space." He expressed immense joy in witnessing children play on the court and feel a sense of belonging. Ilori's artistic journey began with a strong visual awareness instilled by his mother, which led him to study furniture and product design at London Metropolitan University. He found inspiration in artists like Yinka Shonibare, Salvador Dalí, and Francis Bacon. After working in retail for several years, he made the pivotal decision to pursue design full-time after his furniture was selected for a showcase at Design Miami. His dedication has garnered significant recognition, including an MBE award from the Queen for his contributions to the field. Ilori currently leads a team of designers in northwest London, working on various projects, including a new furniture collection, a playground for an east London housing estate, and public art commissions for London’s "Asphalt Art" program. These large-scale murals aim to revitalize areas impacted by the pandemic and celebrate a return to public life. Ilori views his work as a "spiritual revival," generating warmth, delight, and optimism to positively influence societal moods. #YinkaIlori #ArtAndDesign #PublicSpaces #UrbanInterventions #NigerianHeritage #LondonArchitecture #ColorBlocking #FurnitureDesign #CommunityEngagement

Jomo Tariku, a Virginia-based designer and furniture maker, shares insights into his creative process, which draws heavily from his Ethiopian upbringing and African heritage. Born in Kenya and having traveled extensively across Africa during his youth due to his mother's work at Ethiopian Airlines, Tariku was exposed to a diverse collection of objects and furniture from an early age, collected by his diplomat father. His early experiences included working in a car shop in Addis Ababa between the ages of 14 and 16, where he constantly sketched and drew his surroundings while performing various tasks. This period, along with his later academic pursuit of an industrial design degree at the University of Kansas, laid the foundation for his distinctive approach to furniture design. Tariku's work is characterized by its exploration of objects and culture, often reinterpreting everyday African items and totemic figures into sleek, minimalist furniture. His designs incorporate bold colors like black ash and orange, paying homage to African craft and furniture-making traditions. Notable pieces, such as the Nyala chair, the Qwanta totem chair, the Meedo chair, and the Mukecha stool, have gained significant attention. His comb-shaped Mido chair (2021) was acquired by The Metropolitan Museum of Art, and other works are part of the collections at the Los Angeles County Museum of Art, Mint Museum, Denver Art Museum, and Baltimore Museum of Art. His work has also transcended the art and design world, with production designer Hannah Beachler featuring some of his pieces in "Black Panther: Wakanda Forever." Tariku recounts his journey into design, initially considering computer science before discovering his aptitude for art and design during his college years. His mentor at the University of Kansas encouraged his passion, which eventually led him to pursue furniture design for his industrial design thesis. He emphasizes that inspiration should not be limited to existing seating designs but can come from a wide array of African contexts, including hairstyles, the afro pick, landscapes, and headrests, allowing for truly unique and innovative designs. He discusses the transhistorical quality of his designs, which blend ancient influences with modern interpretations, creating pieces that defy chronology and symbolize collective and personal histories. He acknowledges the scarcity of historical data for many African objects, which were often made for utility without formal manufacturing structures. As a Western-educated industrial designer, Tariku interprets this past through his skills, ensuring that his pieces are titled to reference their inspirations, such as the Nyala chair's connection to antelopes or the Boraatii stool's link to Oromia headrests. The designer also considers the interactive relationship with users, exemplified by the Qwanta chair, which features an interchangeable backrest. This design was inspired by traditional African birch chairs and aims to involve users in creating their own totems, transforming the chair into a collaborative art piece. He explains his philosophy that his furniture serves both an artistic and functional purpose, akin to how common objects in Ethiopia were used for utility and then displayed as decorative elements. He views his pieces as sculptural, conceptual, and functional statements. Tariku elaborates on the sculptural aspect of his work, highlighting the balance between artistic form and ergonomic functionality. He strives for elegance, clean lines, and organic shapes that provide visual satisfaction and comfort. His creative process involves rigorous prototyping to ensure both aesthetic appeal and practicality. Regarding abstraction, he focuses on extracting the simplest geometric shapes from his inspirations, testing their endurance and researching thoroughly. He aims to make his designs recognizable to those familiar with the cultural references while also appealing to a broader audience. He discusses his material palette, which is currently limited to ash, American ash, and birch plywood, primarily due to cost and environmental considerations. He consciously avoids exotic African woods, prioritizing sustainable forestry practices in the U.S. He expresses interest in expanding into materials like plastics, metals, and carbon fiber when appropriate. Finally, Tariku speaks about his involvement with the Black Artists and Designers Guild (BADG), co-founded by Malene Barnett, which aims to promote and increase the visibility of Black designers from the diaspora and Africa. He believes that his work, and that of other Black designers, is crucial for challenging Western-centric design canons and pushing against misconceptions about African design, ultimately contributing to a more inclusive representation of global creative traditions. #JomoTariku #FurnitureDesign #AfricanDesign #Afrofuturism #IndustrialDesign #InteriorDesign #CulturalHeritage #BlackArtistsAndDesignersGuild #SculpturalFurniture

Rana Salam, a Lebanese-British graphic designer, has established a notable presence in the design world by uniquely blending Lebanese and Middle Eastern pop culture with retro and pop art influences. Born in Lebanon, Salam's early inspiration stemmed from her architect father, Assem Salam, and a Vespa gifted to her at age 15, which encouraged her to explore Beirut's art-filled streets. Her distinctive style is characterized by transforming visual snippets from billboards, vintage film posters, and signs into large-scale, retro-inspired art pieces, utilizing modern design technology to present her interpretation of pop culture to a global audience. Salam pursued her higher education in England, earning a BA in Graphic Design from Central St. Martins and a Master’s Degree in Visual Communication and Art Direction from the Royal College of Art in 1992. During this period, she recognized the rich creative potential within her home country and developed a passion for pop arts, focusing on reinventing them with contemporary flair. Her career gained momentum in 1995 when she established Rana Salam STUDIO in London. A pivotal early project involved designing a window display for Harvey Nichols, a prominent London department store, using collages of street billboards and featuring iconic figures like Bettie Page and Brigitte Bardot. Further solidifying her reputation, Salam drew inspiration from renowned designers such as Paul Smith, Sonja Rykiel, and Kate Spade. Following her success with Harvey Nichols, she was commissioned to design the new swimwear department for Liberty of London. A significant milestone in her career was the 2008 publication of her book, “The Secret Life of Syrian Lingerie,” co-authored with Malu Halasa, which sold 5,000 copies in its first year, marking it as a considerable success. After living in England for 27 years, where she absorbed the local art culture and integrated it into her Middle Eastern-inspired designs, Salam relocated her Rana Salam STUDIO to Beirut in 2010. A year later, she expanded her enterprise by opening the Rana Salam SHOP, which offers home products, accessories, art, and prints. Her focus is on curating unique objects to enrich her artistic creations, striving to portray Lebanon and the Middle East in a positive light through her work. As an entrepreneur, Salam's influence extends internationally, with projects and designs in cities including Miami, London, Dubai, Istanbul, and Milano. Her collaborations include working with Sauce Dubai to recreate Ferruccio Laviani’s classic Bourgie Lamp for Kartell and developing a new design for the iconic Converse brand as part of the “Made By You” project in 2015. She also contributed a pop-up installation to the Istanbul Design Biennale in 2017. More recently, she has been involved in designing for notable Lebanese restaurants in the diaspora, such as Comptoir Libanais in London and Noura in Paris. Rana Salam remains committed to her artistic mission of transforming perceptions of the Middle East through the transformative power of design. #RanaSalam #LebaneseDesigner #BritishDesigner #PopArt #GraphicDesign #MiddleEasternCulture #ArtDirection #DesignEntrepreneur #CulturalFusion

Aurelie Tu, founder of Craftedsystems, bridges her background in industrial design, specifically in consumer electronics, with her current focus on soft, felted products. After a career designing technological devices for companies like Nike, where she developed wearable electronic products, Tu felt a disconnect from natural and tactile materials. This led her to establish Craftedsystems as an experimental venture with an alternative business model that prioritizes design, handwork, and community involvement. Craftedsystems distinguishes itself by creating a weaving system that is accessible to individuals without specialized skills, fostering group participation. The production model offers incentive-driven wages, paid per piece, encouraging weavers to increase their output as their skills improve. Tu collaborates with local organizations in Portland, such as the YWCA and P:EAR, which supports homeless youth, using the handweaving process as a therapeutic and empowering activity. This approach contrasts with traditional craftwork sales or the appropriation of ethnic cultures' work. Tu's innovative interlocking patterns for Craftedsystems originated from a desire to merge technological and design innovation with handcraft. The initial products, made from felt, utilize a simple system of slots and tongues, allowing the material to interlock without the need for stitching or mechanical fasteners. A distinctive feature is that the internal structure, often hidden in traditional designs, becomes the visual identity of the product line. The design process is iterative, involving the creation and refinement of geometries and patterns to achieve simple production and aesthetic appeal. Felt was chosen as the primary material due to its organic qualities and historical significance as humanity's first textile. Its inherent thickness and solidity appealed to Tu, offering both structural integrity and flexibility, which made it suitable for vessels and voids. The tactile nature of her work, inviting interaction and exploration of how the pieces fit together, is a deliberate outcome of her intention to integrate handcraft as a core design element, producing items that machines cannot replicate. Tu's personal style, which blends modern design, innovation, and technology with an appreciation for materials, textures, crisp geometries, and organic forms, is reflected in Craftedsystems. Her inspiration largely stems from extensive travel, which she considers crucial for expanding creative perspectives by exposing her to diverse ideas and philosophies. While her patterns are primarily geometric and elemental, possibly referencing modern design or natural sequences like the Fibonacci series, they are not tied to specific cultural roots. Her favorite piece is the Asira series, produced by Ligne Roset, which has adapted its production to use waste materials and employ individuals with disabilities for handweaving. Currently, Tu is developing wall hangings and vessels for Room & Board and exploring material hybridization for future projects, seeking new collaborations. #AurelieTu #Craftedsystems #IndustrialDesign #FeltProducts #Handcraft #CommunityEngagement #SustainableDesign #TextileInnovation #ModernDesign #InteriorDecor

Nifemi Ogunro, a Brooklyn-based Nigerian-American artist and designer, integrates the concept of family into her functional object designs. Her inaugural furniture collection draws inspiration directly from her immediate family members, with each piece reflecting a personal connection. Born in Lyon, France, Ogunro's upbringing spanned Colorado, North Carolina, and Georgia before she settled in New York. These geographical shifts fostered a strong spiritual connection to her family, which she translates into her work. The collection features stools dedicated to her parents and a coffee table for her brother. The prototypes for this collection, which blend sculpture and furniture, were developed during the initial phase of the pandemic. For example, the 'Mrs Sola' stool is a nod to an inside joke with her mother, who insisted on the 'Mrs' prefix as a sign of respect, a common cultural expectation in Nigerian households. The 'Tob(i)' stool is inspired by her engineer father, whose name was often misspelled as 'Toby'. The 'Tope' table, bearing her brother's middle name, is described as the most abstract piece, designed to be uniquely understood and appreciated by him. Through these objects, crafted from bent and glued wood, Ogunro explores themes of affection and personal identity, particularly the experiences of first- or second-generation immigrants in Western countries, highlighting challenges like name mispronunciation and cultural differences in addressing elders. Prior to her 2020 collection, Ogunro engaged in various design experiments. Her 'Discombobulated' side table (2019) features a solid wood construction with a circular top, a halved spherical base, and a 'U'-shaped central connector, a motif recurring in her work. This 'U' shape is also evident in her 'Comb Concepts,' a series of hand-carved wooden Afro picks inspired by her mother's hair care routines. The oils and butters used in Black haircare naturally enhance the luster and patina of these combs over time. Ogunro's first independent work, the 'Decompulsion' coffee table from 2015, symbolizes a pivotal moment of self-trust. Despite an unconventional approach, including welding the metal frame upside down, her professor's support allowed her the freedom to explore, teaching her the importance of intuition in design. Ogunro's work has gained recognition, being featured in 'Open Studio' at Lichen, a Bushwick design space, organized in collaboration with Pink Essay. This exhibition showcased emerging designers, many of whom are self-taught, leading to the acquisition of several pieces, including Ogunro’s 'Tob(i)' stool, by established and new collections. She also sold work through 'Super Group,' an exhibition curated by the Instagram platform Superhouse. Despite these commercial successes, Ogunro's primary motivation is not capital gain. Instead, she is driven by the sociological impact of design, aiming to create inclusive spaces within a field that has historically been characterized by privilege and anti-Blackness. Her ongoing interest in 'voids' in her work suggests a commitment to filling gaps and expanding opportunities for young people of color within the art and design world. #NifemiOgunro #FurnitureDesign #FamilyInspiredDesign #NigerianAmericanDesigner #BrooklynDesign #IndustrialDesign #CulturalIdentity #EmergingDesigners #SculpturalFurniture

The home of Dr. Srikant and Ruta Gir, located in the gated Nottoway subdivision near Poplar and Kirby, is presented as an evolving work of art, meticulously designed and crafted. The Girs, both born in India, drew inspiration from Srikant's childhood estate in Hyderabad, an architectural wonder with 30-foot ceilings, mosaic tile work, a fountain, and European chandeliers. This early exposure motivated Srikant to imbue his own home with similar architectural grandeur and detail, including custom-made chandeliers from Hong Kong that replicate those from his grandfather's home, and traditional Indian imagery throughout the decor. Beyond Indian influences, the Girs incorporated elements from their extensive travels to Europe and Southeast Asia. Srikant, an engineer and co-director of the University of Memphis’ Biofuel Energy and Sustainable Technologies Center, spent over three years conceptualizing floor plans and acquiring pieces for their nearly 7,000-square-foot residence. In 2008, construction began with the help of Memphis builders Millard and Bonnie Townsend, bringing their vision to life. The exterior and interior design prominently feature Balinese influences, a result of Srikant's annual visits to Bali to source artists and materials. The front entrance is framed by a hand-carved sandstone border and pillars, a direct reflection of Balinese design. Inside, similar hand-carved sandstone Corinthian columns and a large wall art panel depicting cranes and lotus flowers reinforce this theme, reminiscent of his grandfather's home. A focal point upon entering is the flowing steel stairway banister and second-floor railing, a creation by renowned Memphis artist Yvonne Bobo. This piece, which took nearly eight months to complete, features creeping vines, gold leafing, and Swarovski crystals that refract light. The sitting room showcases a magnificent collection of hand-carved Louis XVI-style chairs, crafted over two years by French artisan Jean Phillips in teak wood, featuring intricate details and gold leafing. The dining room table, a custom creation, features an old European marquetry look. The Girs spent seven months acquiring a 5-foot by 13-foot solid mahogany piece for the tabletop and then enlisted skilled artists in Bandung, Indonesia, for the marquetry work, which involved carving veneer organic patterns inlaid into the table's top and sides. The final wood finishing was done by Furniture Medics in Memphis. Another distinctive feature is an abalone shell sink in one of the bathrooms, with the abalone sourced from New Zealand and then crafted into a unique basin in Bali. The home boasts two kitchens: a spice kitchen for Ruta's Indian cuisine and a second for dining and entertaining. The European-style cabinetry in the main kitchen was hand-carved in Bali with an ivory marble finish, complemented by speckled Brazilian granite countertops sourced locally. Local handymen Bill and John Rush were responsible for cabinetry installation, trim work, and other finishing touches. The Girs are also planning an addition: an eighteenth-century sitting area, styled after traditional Indian homes, adjacent to the kitchen. This project underscores the Girs' belief that patient effort and collaboration with skilled artisans from around the world can transform ideas into tangible, artistic living spaces. #HomeDesign #ArtisanCraftsmanship #GlobalInfluences #CustomFurniture #ArchitecturalDetail #InteriorDesign #MemphisHomes #BalineseDesign #IndianCulture

The Black Artists + Designers Guild (BADG), in collaboration with architects Leyden Lewis and Nina Cooke John, and featuring interiors by 25 BADG creatives, has conceptualized the Obsidian Virtual Concept House. This interactive dwelling, set in California's Oakland Hills in 2025, serves as a manifestation of an Afro-centric futurist vision, aiming to embrace possibility and freedom for a Black family through thoughtful design. The project is a central component of the month-long OBSIDIAN EXPERIENCE, an initiative by BADG to elevate the home as a space for Black imaginations and futures to thrive. Malene Barnett, artist, activist, and founder of BADG, emphasizes that 'home' is both a physical space and a feeling of relaxation, non-judgment, and being surrounded by loved ones. This philosophy underpins the entire Obsidian project, which seeks to create layered spaces that perpetually evoke these feelings. The virtual concept house allows visitors to explore various rooms, learn about the designers' inspirations, and even virtually shop for products and fixtures specified within the designs. This interactive element makes the experience engaging and practical for those seeking inspiration. Architects Leyden Lewis and Nina Cooke John led the visualization of the house, grounding their work in the belief that Black futures can be equitable, sustainable, and liberating. They describe the Obsidian Concept House as a supportive environment for the mental, physical, and spiritual well-being of the Black family, fostering expressions of joy and creativity. The architectural design integrates sustainable building practices, including geothermal heating, solar energy, rainwater harvesting, and passive-house systems, highlighting a commitment to environmental responsibility alongside cultural relevance. The interiors of the house are diverse, each informed by the unique family histories and design approaches of the participating BADG members. These spaces are dedicated to spirituality, health, food, art, and nature. Examples include Cheryl Umbles's 'An Abundance of Welcome' entryway, Cheryl R. Riley's softly lit, turquoise meditation room, Everick Brown's transformative recreation room for connection, and Linda Allen's 'I am Good Enough: A Haven for the Black Overachiever,' which functions as an artist studio and garden. Malene Barnett's 'Sankofa-Legacy Wall,' featuring ceramic tiles inscribed with ancestral names, acts as the home's centerpiece, symbolizing Black ingenuity, strength, and perseverance, and serving as a tool for Black liberation and healing. The OBSIDIAN EXPERIENCE is launched during what BADG refers to as 'The American Awakening,' a period identified as an opportunity for a 'reawakening of the Black imagination.' The project aims to demonstrate how domestic spaces can reflect the diverse identities of inhabitants, address environmental injustice, inspire new ways of living, and ultimately pave the way for a more authentic freedom. The initiative is a collaborative effort, supported by media partners such as ELLE Décor, House Beautiful, Town & Country, and VERANDA, with Hearst Magazine's Luxury & Design Collection as the media sponsor. #VirtualHome #BlackDesigners #AfroFuturism #SustainableArchitecture #InteriorDesign #CulturalHeritage #CommunityBuilding #BlackArtistsAndDesignersGuild #DesignInnovation

The article highlights nine Black-owned home brands and stores, aiming to provide year-round support and visibility for businesses that often face limited exposure compared to major retailers. While Black History Month brings some attention, the article emphasizes the need for continuous promotion of these brands. Each featured brand offers a unique range of home decor and furnishings, showcasing diverse styles and ethical practices. Sustainable Home Goods, founded by LaToya Tucciarone, offers a variety of ethically sourced and sustainable products including home decor, glassware, cleaning products, and textiles. The brand collaborates with artisans from marginalized communities globally, focusing on providing job opportunities and economic stability. Notable products include the Pillowpia Tabletop Belly Basket, Creative Women Cactus Silk Pillows, and The Great Lakes Goods Anthurium Forever Flower. 54kibo, established by Nana Quagraine, is inspired by contemporary African design. Originating from Ghana and South Africa, Quagraine curated a collection of home decor, lighting, and linens from African designers. The brand's name, derived from Africa's highest summit and the number of African countries, symbolizes excellence in design. Key offerings include the 54kibo Teal Hand-Tufted Wool Rug, the Amur Matte Black Table Lamp, and the Yellow Cord Woven Mirror Artwork. Jungalow, a women-owned company, focuses on creating vibrant and healthy home environments. Beyond offering colorful wallpapers and quilts, the brand is committed to social responsibility, planting trees in Africa and donating to organizations like Black Lives Matter. They feature exclusive art prints from international artists and handmade textiles from India, such as the Justina Blakeney X Loloi Waves Lumbar Pillow, Jungalow Arched Cane Shelf Set, and the Justina Blakeney Kaya Shorty Ceramic Planter. Sheila Bridges Home, led by interior designer Sheila Bridges, reimagines traditional French toile with designs that reflect African American experiences. Her collection spans textiles, glassware, and wallpaper, bringing a blend of history and classic design. Featured products include the SBD Classic Stripe Wallpaper, SBD Harlem Toile Wall Decals, and SBD Harlem Toile Fabric. Linoto, founded by Jason Evege, specializes in 100% linen bedding, bath, and kitchen products. Evege's personal quest for affordable linen sheets led him to create a business that now boasts over 10,000 orders. Linoto's items, crafted in a New York workshop, include reusable Linen Paper Towels, comfortable Linen Pillowcases and Shams, and the luxurious Linen Spa Towel. Albany Park, co-founded by Darryl and Jessica Sharpton, simplifies the furniture buying process by offering three core sofa designs tailored to various needs. Their Ẹkáàbọ̀ collection, inspired by Darryl Sharpton's West African roots, features bold and colorful African prints. Examples are the Albany Park Ẹkáàbọ̀ Park Armchair, the versatile Park Armchair, and the functional Kova L-Shape Sectional + Console couch. Estelle Colored Glass, a luxury brand by Stephanie Hall, draws inspiration from her grandmother Estelle's glass collection and childhood summers in South Carolina. The brand offers hand-blown colored glass drinkware and cake stands, such as the Estelle Cake Stand Lavender, Estelle Colored Champagne Coupe Stemware, and Estelle Colored Rocks Glass Set. Clare, founded by interior designer Nicole Gibbons, addresses the challenge of selecting paint colors with a curated palette and a "Color Genius Quiz." Their water-based paints are VOC-free and Greenguard Gold Certified. Notable products include Clare Neutral Paints, Clare Primer, and the Clare No-Fail Neutral Swatch Kit, which allows customers to test colors at home. Finally, Pretty Honest Candles, started by Andrea Bertrand, focuses on creating candles with fragrances that effectively fill an entire home. After two years of development, Bertrand perfected her formula, offering 8- and 14-ounce handcrafted soy candles with long burn times, along with wax melts, room sprays, and reed diffusers. Featured items are Pretty Honest Room & Linen Sprays, the Old Flame Soy Candle, and the Honeysuckle Jasmine Soy Candle. #BlackOwnedBusinesses #HomeDecor #InteriorDesign #SustainableLiving #AfricanDesign #Textiles #Furniture #HandmadeGoods #HomeFurnishings

This article highlights various home decor and furniture pieces, emphasizing unique designs, craftsmanship, and the stories behind their creation. It features a reintroduction of the Lawrence Peabody chair from 1962, now custom-crafted in America from solid teak or wicker with high-density foam cushions and customizable fabric choices. Another piece is Shanan Campanaro's largest rug collection for Eskayel, inspired by Marrakech and the High Atlas Mountains. This collection includes the Kotoubia/Duomo rug, made from Merino wool and silk blend, hand-knotted with varied weave structures and pile heights. The article also presents a whimsical kitchen apron called 'Siberia' by Helen Wilson of Witch and Watchman, depicting a jungle of animals on a crimson Siberica leaf background, offering an eccentric take on chinoiserie. Pillows designed by Sigi Ahl are showcased, crafted from felt made from recycled clothing by Eileen Fisher, as part of Fisher's zero-waste initiative, which has seen over a million clothing items returned. Joana Aranha's Fingerprint Chaise Longue, made from Indian Acacia wood with an extra matte varnish and a linen-cotton blend upholstery, is also featured. Her pillows incorporate hand-sewn gold zippers and a trademark tassel with the 'flower of India' insignia, inspired by a red flower Aranha found in New Delhi. Adriana Hoyos' Rumba upholstered chair is described with its distinctive silhouette, pronounced curves, generous seat, and gold-finish metal studs on a wooden frame, combining comfort, craftsmanship, and design. The Francis desk, named after Hillary Petrie's father, is presented as a simple yet complex piece with intricate joinery, ideal for floating in a room. This custom version is crafted from natural Douglas fir with a clear water-based finish and saddle leather drawers, all made in Egg Collective's woodshop or in collaboration with New York City fabricators. Michael Wainwright's new artisanal dinnerware brand for Lenox, 'Crafted,' introduces the Pompeii collection, which features durable stoneware with charming blue-on-white patterns and gold accents, designed for playful layering and everyday use. The Margot Chest by Bruce Andrews is highlighted for its dazzling emerald green, piano-ribbed front, and silver leaf-covered solid maple base with contoured legs. Handcrafted in America, this piece measures 40 3/4 inches wide, 18 3/4 inches deep, and 44 inches tall from its 12-inch leg. Aoife Mullane's textiles feature foiling on fabric, drawing inspiration from sea glass and pebbles, incorporating glamorous metallic touches in bronze, copper, and silver. Michele Varian's lighting designs are noted for their use of solid, unplated metals like brass, copper, or steel, with sculptural Mala 'bead' pendants inspired by Constantin Brancusi and modern primitive design, which will naturally patina over time. Alexandra Petrache's HALFDROP textile collection, specifically the Layers Yellow pattern, is shown, inspired by antique Romanian rag rugs. This reinterpretation features bold, organically layered patterns in mustard yellow and complementary grays, with hand-drawn lines enhancing fluidity. These 20-inch pillows are made of 100 percent cotton. The Lake Shore Watercolor Console from John Strauss Furniture is presented as a piece of art, featuring a watercolor by Tracy Hiner digitally printed and applied as a veneer to the doors, protected by an acrylic coating. The console has a satin sheen navy lacquer finish, stainless steel legs, and touch-latch doors with adjustable shelves. Lastly, Stacy Kunstel's Chunky Captain Compass Table, designed with Michael Partenio, features a massive turned maple base painted in a glossy custom Benjamin Moore color, Blueberry Hill, and topped with a 48-inch white-honed Carrara marble. Maggie Cruz’s Alexandra Cane Bench, influenced by her Cuban heritage and Miami, showcases Art Deco styling in a coral dust finish with white-washed cane and optic white linen upholstery. #HomeDecor #FurnitureDesign #InteriorStyling #TextileDesign #ArtisanCraftsmanship #SustainableDesign #ModernPrimitiveDesign #ArtDeco