Iris Dankner: Designing Woman

Jane Hall, an architect, author, and curator known for her work in expanding the understanding of design and its societal impact, discusses her new book, "Making Space: Interior Design by Women." Hall is a founding member of Assemble, a London-based collective that received the Turner Prize for its community-focused architectural work. Her academic background includes studies at King's College, Cambridge, the Royal College of Art, and a PhD focusing on modernist architects. In 2013, she was the first recipient of the British Council's Lina Bo Bardi Fellowship. Her publications consistently aim to re-evaluate the role of women in the creative arts. Her 2019 book, "Breaking Ground: Architecture by Women," provided a comprehensive, visually rich overview of hundreds of buildings by women architects, seeking to integrate their contributions into architectural history. Following this, "Woman Made: Great Women Designers" (2021) cataloged over 200 female practitioners across various design fields, including furniture, products, and graphics, reframing design history as a interconnected global narrative rather than a limited canon. Her latest work, "Making Space: Interior Design by Women," focuses specifically on interior design, exploring its evolution through the careers of 250 female designers from the early 20th century to the present. Hall highlights how interior design, despite often being seen as a "feminized" profession, has historically provided a significant arena for women's design influence. She notes that unlike architecture, interior design was less institutionalized and theorized, allowing women an earlier and more artistic role in shaping spaces, particularly domestic ones. Hall emphasizes that while the term "interior designer" is a modern professional title, many women in her book, especially from earlier periods, engaged in what could now be considered interior design without formally identifying as such. She points out the client-centric nature of interior design, contrasting it with product design for mass production. Interior designers, she explains, act more like artists, translating client visions into unique aesthetic statements, thereby influencing broader design trends. She identifies the Second World War as a turning point, noting that before the war, many women in the profession came from affluent backgrounds, enabling them to realize ambitious and extravagant projects. An example is Dorothy Draper's design for the Greenbrier Hotel, characterized by bold colors and patterns, which pushed conventional boundaries of taste. Hall observes a surprising lack of Bauhaus or Modernist interior designers among women, as interior design often operated outside academic and theoretical frameworks, providing an avenue for women to express avant-garde ideas. In the post-war period, designers like Florence Knoll gained prominence, alongside figures like Barbara D’Arcy of Bloomingdale's, who made design accessible to a wider audience by showcasing how to integrate products into home interiors. Hall also cites Eva Jiricna, who introduced high-tech aesthetics and glass staircases into retail environments, influencing contemporary spaces like Apple Stores. Other influential designers include Marion Hall Best, known for her vibrant 1960s color-blocking, demonstrating how individual creativity initiated broader trends in interior environments. Contemporary interior design, while more specialized, still requires significant artistry. Hall notes that while the industry has expanded and designers are highly skilled, the proliferation of platforms like Instagram can sometimes flatten the perceived complexity and excitement of their work. However, modern designers, including those like Alex Dorley, Sophie Ashby, Pamela Shamshiri, Jialun Xiong, Maye Ruiz, and Tekla Evelina Severin, continue to create innovative and influential interiors, often extending their practice to include their own furniture, paint, and fabric lines. Many younger designers, not from traditional wealthy backgrounds, find opportunities in commercial spaces, pushing creative boundaries to stand out in a visually driven world. #InteriorDesign #WomenInDesign #Architecture #DesignHistory #FeministArchitecture #DomesticSpaces #CreativeArts #PhaidonBooks

Candace Wheeler, an influential figure whose life spanned nearly a century of rapid transformation in American society, moved from a rural upbringing to the bustling jazz-age New York City. At the height of her career in the late 19th century, Wheeler was instrumental in instigating changes in the lives of American women. While considered a feminist, her approach was not radical; her leadership stemmed from a profound sense of responsibility for less fortunate women and a vision for their financial independence. In an era marked by a devastating war and financial instability, Wheeler prioritized economic empowerment for women over political power. Although she supported women's suffrage, she channeled her energy into training women for self-sufficiency rather than actively pursuing voting rights. Wheeler initially engaged in not-for-profit benevolent organizations, a conventional avenue for women's charity work in the 19th century. However, she deliberately distinguished herself from the typical 'charity lady,' rejecting the dilettante status often associated with the term. As a middle-class woman, she lacked the financial and social capital typically required to ascend to leadership roles in elite charitable circles. Instead, Wheeler's impact was driven by her artistic talent and strong social conscience. Her effectiveness as a leader was fortified by her passion for art, her connections with prominent artists and designers, the support of her husband and brothers, and her unwavering self-confidence and drive. Leveraging these resources, she built a significant career as a designer of textiles and interiors, as well as a teacher, lecturer, and author. Between 1877 and 1893, from the establishment of the Society of Decorative Art to her final major commission, the interior design of the Woman's Building at the World's Columbian Exposition, Wheeler was recognized as the national authority on decorative textiles and interiors. She continued to contribute to the design world through her writings, including books, articles, and her autobiography, 'Yesterdays in a Busy Life' (1918). In an era that often undervalued strong women, Wheeler championed art and design as viable professional careers for women, shifting perceptions from hobbies to professions. She was among the first American women to create designs for manufacturers, paving the way for countless female designers, some of whom she personally trained within her woman-run firm, Associated Artists. She also played a pioneering role in establishing interior decoration as a recognized profession. Throughout her extensive life, Wheeler created numerous beautiful objects and promoted a distinctly American style in textile and wallpaper design, characterized by colors and patterns inspired by American flora and adapted to the unique qualities of American light. However, her most profound legacy lies in her role as an early 'career woman' and designer, serving as an inspiring role model for women at the turn of the 20th century, encouraging them to seek equal footing with men in the workforce. #CandaceWheeler #AmericanDesign #TextileDesign #InteriorDesign #WomenInDesign #19thCenturyArt #SocialConscience #FeministHistory #DecorativeArts

Dana Esser, an interior designer and creative, discusses her business, Dana Michele Design, and its profound impact on the daily lives of occupants in the spaces she designs. Esser highlights the significance of her work in creating therapeutic environments, such as offices for therapists and psychiatrists. These projects involved extensive research into layout, audio and visual privacy, color, texture, and furniture selections to ensure patients feel welcome, calm, comfortable, and safe. The insights gained from designing these therapeutic spaces are now applied to all her projects, ensuring they enhance the well-being of occupants and meet functional needs. Dana Michele Design distinguishes itself through an unwavering commitment to clients, with Esser acting as a 'client advocate.' With eight years of corporate interior design experience, she is now directly involved in every project, ensuring personalized attention and expertise for each client. The design process at Dana Michele Design integrates spatial intelligence with creative intuition, focusing on solving complex puzzles and understanding human needs to create spaces that resonate deeply. This process begins with in-depth client engagement to understand their aspirations and challenges, leading to designs that are not only aesthetically pleasing but also supportive of their present and future needs. Esser emphasizes the importance of professional integrity and personal well-being, stating a rule to only accept projects where her team is respected and valued, especially as a female entrepreneur in a male-dominated industry. Looking ahead, Esser plans to launch a non-profit arm of Dana Michele Design. This initiative will focus on community engagement by partnering with organizations that provide housing and support to vulnerable communities, aiming to create nurturing environments that empower individuals to thrive. The success of Dana Michele Design is attributed to human connection and the transformative power of thoughtful design, driven by a commitment to clients and the wider community. Outside of her professional life, Esser shares recommendations for enjoying Los Angeles with a visiting friend. Her ideal week would include coffee from Primo on Montana Street, brunch at Courtyard Kitchen in Santa Monica, leisurely strolls along the boardwalk, and beach volleyball. Nature excursions would involve hiking the Los Leones trail in Pacific Palisades for panoramic ocean views. Cultural experiences would include visiting the Broad or Hammer museum exhibits. Evenings would feature live entertainment at venues like the Hollywood Bowl or Aviator Nation’s Dreamland in Malibu, or attending a comedy show. Dining options range from Fia in Santa Monica to Osteria Mozza, followed by a night out in West Hollywood or Hollywood. Esser acknowledges several individuals who have significantly influenced her journey. She credits her family for providing essential physical and financial security and unwavering love. Her high school art teacher is recognized for channeling her creativity and introducing her to interior design at 16, a pivotal moment in discovering her passion. Lastly, she highlights the continuous inspiration, encouragement, and love from her closest friends, whom she considers her chosen family, calling them her backbone and biggest cheerleaders, especially when she experiences imposter syndrome. #InteriorDesign #CreativeEntrepreneur #TherapeuticSpaces #ClientAdvocacy #CommunityImpact #FemaleEntrepreneur #NonProfitInitiative #LosAngelesLifestyle #PersonalDevelopment

Christine Lin, founder and principal of Form + Field, an interior design firm based in San Francisco, shares insights into her work, inspirations, and projects. Lin's background includes studies in architecture and mechanical engineering at MIT, where she also delved into furniture and product design and art history. This diverse academic foundation, combined with rigorous training in corporate and startup tech environments and an MBA from UC Berkeley, equipped her with expert management and execution skills. Her keen eye for design has been further honed through extensive study and global travel, seeking out new art, design, and architecture. Form + Field's design philosophy centers on integration and longevity, aiming to create holistic, enduring environments that promote joy and well-being. The firm intentionally crafts spaces tailored to individual needs, whether residential or commercial. Lin describes her style aesthetic as 'eclectic modernism with an emphasis on contemporary art and architectural detailing.' The design process at Form + Field is highly client-centric. It begins with a comprehensive discovery phase, including extensive questionnaires, to deeply understand clients' personal interests, preferences, and cherished memories of interiors. This information serves as a foundation for crafting a unique space. Lin likens the design process to a Venn diagram, where one circle represents the client's desires and functional requirements, and the other encompasses Form + Field's design principles. The 'overlap' between these two circles, which varies with each client, is where the firm identifies the magical and personalized aspects of a project. Lin finds inspiration primarily through conversations with passionate individuals across various crafts and arts, transferring that energy into her design work. One of her most inspiring projects to date is the Martis Camp project in Tahoe, a collaboration with Faulkner Architects, set to conclude in 2024. This project stands out for its ambitious scope, extensive custom design integrated with interior architecture, and the exploration of new vendors, fabrication processes, and color applications. Her dream project involves designing a small boutique hotel that offers a unique guest experience, deeply rooted in the surrounding culture and context of its location. Form + Field's ideal clients are described as kind, well-traveled, cultured individuals who value quality, invest in good design, appreciate architecture, and collect art. These clients are typically open to exploration, new ideas, and unexpected design solutions. Lin identifies Form + Field's 'design superpower' as their ability to interpret clients' needs and desires through their distinct lens, translating them into elevated, unique designs. The firm prides itself on creating spaces where each project possesses a distinct personality, clearly reflecting the occupants. Her design heroes include architect Rem Koolhaas/OMA, whose conceptual approach, focus on ideas over a singular aesthetic, and willingness to take risks are deeply inspiring. Looking ahead, Form + Field is embarking on a large, new-construction generational home project in Kauai, collaborating with Zak Architecture. This endeavor represents an exciting opportunity to create a holistic vision for a dream vacation home, building on an established trust with the clients, for whom this is their third project with the firm. #InteriorDesign #ChristineLin #FormAndField #DesignPhilosophy #EclecticModernism #ClientCentricDesign #ArchitecturalDetailing #DesignInspiration #CustomDesign

The article introduces Daphne Martino and Claudia Barroso, co-founders of M&B Design Studio, highlighting their journey into entrepreneurship as interior designers. Both women, having spent years assisting friends and family with design projects, decided to formalize their passion into a business once their children reached high school and college, providing them with the necessary time and space. Their motivation extends beyond personal ambition; they aim to set an example for their daughters, demonstrating that it is possible to pursue new career paths and achieve significant goals at any age. M&B Design Studio distinguishes itself through its commitment to honesty, transparency, and open communication with clients. This foundational trust is crucial for navigating design challenges and delivering spaces that are aesthetically pleasing and deeply meaningful to their clients. The founders emphasize that their path has involved considerable hard work and perseverance, acknowledging the inherent challenges and frustrations of the interior design industry. Despite these difficulties, they describe themselves as resilient, embracing both the positive and negative aspects of their work and striving to enjoy the process. Their families have been an integral part of their business, offering support with everything from physical help during installations to organizing project spreadsheets. This familial backing is presented as a key factor in their success. The studio prides itself on delivering thoughtful, timeless, and tailored designs that clients genuinely appreciate, reflecting their dedication to their craft. Beyond their professional lives, Daphne and Claudia share insights into their personal preferences and recommended activities in Miami. When friends visit, they curate an itinerary that blends outdoor exploration, culinary experiences, adventure, and relaxation. Their suggestions include a morning visit to Fairchild Tropical Botanic Garden, followed by refreshments from Wayside Market. Sundays feature a stop at the Pinecrest Farmers Market for local produce and artisanal goods. A quintessential beach day in South Beach, complete with lunch at Joe’s Stone Crab, is also on the agenda. For a change of scenery and a more relaxed atmosphere, a trip to Ocean Reef is recommended for boating, swimming, and golf. Their itinerary also highlights Miami’s vibrant art and design scene, with visits to Wynwood for its street murals and creative energy, and the Miami Design District for its architecture, high-end shops, and curated spaces. Relaxation and rejuvenation are factored in with a spa day at The Standard Spa or Tierra Santa at Faena. Dining experiences are diverse and include COTE Miami for a Korean steakhouse, Bouchon Bistro in Coral Gables for French cuisine, and Queen Miami Beach for a glamorous dinner and show. Iconic local spots like Ball and Chain, known for its live music and history, are also included to offer a taste of Miami’s cultural heartbeat. The week concludes with drinks at Bellini at Mr. C Coconut Grove, offering a sophisticated end to their Miami tour. In acknowledging those who have supported their journey, Daphne and Claudia express profound gratitude to their husbands and children. They credit their families with unwavering support, encouragement, and understanding, which have been constant sources of strength throughout the late nights, early mornings, and significant milestones of their entrepreneurial endeavor. Their families are seen not just as supporters but as an integral part of everything they do at M&B Design Studio. #InteriorDesign #Entrepreneurship #FemaleFounders #SmallBusiness #MiamiLifestyle #WorkLifeBalance #FamilySupport #DesignStudio

The article details the collaboration between fashion designer Roksanda Ilinčić and artist Rana Begum for Roksanda's A/W 2020 show at London Fashion Week. This partnership resulted in a unique, kaleidoscopic netted runway installation, reflecting both artists' shared emphasis on color and light within their work. Ilinčić's brand consistently explores female creativity and collaboration, a theme evident in her previous partnerships and her ongoing artistic dialogues. The inspiration for the A/W 2020 installation stemmed from Begum's observations of fishermen in flooded rice fields in Bangladesh. The artist chose lightweight netting as her primary medium, sourced during her residency in Morocco, due to its capacity to be manipulated for tension and force. This netting was spray-painted in vibrant neon blocks, allowing colors to blend and diffract light, creating a hazy, ethereal effect. The installation was strategically placed within the majestic courtyard of the Durbar Court of The Foreign & Commonwealth Office, floating above the catwalk and serving as a modernist cloud. This design choice directly complemented Ilinčić’s A/W 2020 collection, which showcased fluidity and movement through caped dresses, slouchy leather sportswear, and chunky cable jumpers, all presented in a rich palette of lime, aubergine, magenta, and caramel. Ilinčić consistently integrates art and architecture as foundational elements for her collections, viewing them as crucial starting points for her designs. She emphasizes the importance of collaborating with other creative individuals to enrich her storytelling. Prior to this collaboration with Begum, Ilinčić worked with the London-based art collective Troika for her A/W 2019 show. This earlier collaboration featured an abstract runway installation with six rainbow projections, drawing inspiration from Troika's 2019 Barbican artwork, 'Borrowed Light.' These continuous artistic collaborations highlight Ilinčić's commitment to creating immersive and narratively driven runway experiences. The installation not only served as a visual spectacle but also underscored the essence of Ilinčić’s collection, which focused on lightness and movement expressed through various mediums. Both Ilinčić and Begum share a background that has influenced their artistic appreciation for prismatic aesthetics, with Ilinčić hailing from Serbia and Begum from Bangladesh. This shared sensibility further strengthened the collaborative vision, making the installation a natural extension of both their individual artistic languages. The partnership showcases a harmonious blend of fashion and art, where the runway becomes a dynamic canvas for artistic expression and storytelling. #RoksandaIlincic #RanaBegum #LondonFashionWeek #FashionInstallation #ArtCollaboration #RunwayDesign #AWCouture #FemaleCreativity #TextileArt

Atlanta-based designer Dawn Heuer, nationally recognized for her work on television shows like Netflix, Bravo, and HGTV, offers insights into her home design philosophy and essential items. As the founder and CEO of Heuer Design Collective, specializing in new construction and full-home renovations, and The Design House, her firm's retail establishment, Heuer advocates for creating spaces that foster joy and connection. Her design aesthetic is characterized by an approachable yet refined quality, emphasizing natural materials, muted earth tones, and quiet sophistication. This article highlights several key pieces that embody her signature style, each chosen for its ability to contribute to a comfortable and elegant living environment. Heuer begins with the Malta Chair from The Design House by HDC, describing it as an essential piece with creamy or oatmeal-toned linen, deep seating, and relaxed cushions. She notes that this chair sets a tone of soft, grounded comfort, which is central to her design theme. Following this, she introduces two coffee table options: the Sercy Coffee Table and the Winchester Coffee Table, both from The Design House by HDC. These tables are distinguished by their low-profile design, featuring a live edge or minimalist slab top. Available in medium oak or walnut finishes, they are selected to introduce an earthy contrast into a space. For wall treatments, Heuer suggests using grasscloth or a subtle clay-wash finish wallpaper for an accent wall. This choice, she explains, is meant to add depth and texture to a room, enhancing the overall sensory experience of the space. To further enrich the textile elements, she recommends Maxson Bolster Pillows from The Design House by HDC. These pillows, crafted from handwoven or boucle fabrics in rust, sand, or clay tones, are ideal for layering and introducing variations in comfort and color. The Aliza End Table, also from The Design House by HDC, is highlighted for its elegantly soft, hourglass-inspired silhouette and deep wood tones, which contribute an organic modernism to any room. Finally, Heuer discusses lighting with the Water Pot with Handles Table Lamp from The Design House by HDC. She suggests a sculptural lamp in a matte ivory or taupe glaze, valuing its ability to add artisan character and provide ambient light. Collectively, these selections illustrate Dawn Heuer's cohesive design approach, which prioritizes natural elements, soothing color palettes, and functional yet aesthetically pleasing pieces to create harmonious and inviting interiors. #InteriorDesign #HomeDecor #DesignEssentials #AtlantaDesign #HeuerDesignCollective #TheDesignHouse #NaturalMaterials #MutedTones #LuxuryInteriors

Peggy and David Matthews, celebrating their 30th wedding anniversary, undertook a significant interior design renovation of their Southside Place home, which they built 20 years ago. The initial design of the house catered to their young children, but with their five children now ranging from 16 to 28, and several back home due to the coronavirus pandemic, the family's needs and lifestyle have evolved. Peggy Matthews, who owns Rapid Record Retrieval, a legal support company, expressed a desire to upgrade, redo, and refresh their living space, driven by her love for change. The redesign project was spearheaded by Marie Flanigan Interiors, with Marie Flanigan and design director Melanie Hamel leading the effort. A key aspect of the renovation involved transforming a multi-purpose front room, which had served as a playroom and teenage hangout, into Peggy's personal retreat. This room now features deep blue lacquered walls and built-in bookshelves, a sofa reupholstered in white fabric, a bold geometric rug with chartreuse accents, and a dark blue tufted ottoman. This space allows Peggy to relax privately, though it remains appealing to other family members as well. Peggy's passion for fashion significantly influenced the design choices, prompting the designers to incorporate sophisticated yet functional fabrics inspired by runway trends, including Hermes and Jean Paul Gaultier fabrics. The home's existing art collection, notably Andy Warhol's "Cowboys and Indians" lithographs, served as a primary source of color inspiration. The rich ochers and cobalts present in Warhol's pieces, such as "Mother and Child" in the front room, "Geronimo" in the family room, and "Kachina Dolls" in the hallway, guided the selection of the home's new color palette. Flanigan and Hamel aimed to create a vibrant interior that matched Peggy's dynamic lifestyle, moving away from an all-white aesthetic. The dining room, frequently used for family gatherings, was reimagined with customized de Gournay "Willow" wallpaper featuring delicate branches and a Lindsey Adelman "Branching Bubble" chandelier. Vintage side chairs, discovered on firstdibs.com with garish green frames and old upholstery, were meticulously restored with a gold-bronze finish and reupholstered to complement the wallpaper. The family room was designed with two distinct seating areas to accommodate both large group television watching and intimate conversations, and even includes a designated "dance floor" for entertaining. Minor updates were also made to the kitchen, including replacing traditional island legs with edgier stainless steel ones to match the existing stainless steel counters and range hood. New barstools, combining wood frames with varied fabric on the backs and seats, added warmth. A geometric patterned backsplash was installed after a range replacement, contributing to the updated decor. The breakfast area received new furniture, including a round table that can expand to an oval for larger gatherings. Furthermore, part of the backyard patio was enclosed with large glass panels to create an indoor-outdoor sunroom, offering a climate-controlled space that can be fully opened to the outdoors. This sunroom is furnished with a mix of blue and white patterns in performance fabrics, including a bold Martyn Lawrence Bullard Perennials print on a large ottoman, a striped chair, a solid sofa, and a chevron rug, ensuring durability and a cohesive aesthetic that extends the home's style into the outdoor living area. #InteriorDesign #HomeRenovation #FashionInspiredDecor #LuxuryInteriors #ArtCollection #CustomWallpaper #ModernTraditional #IndoorOutdoorLiving #FamilyHome

The article highlights nine iconic pieces of furniture, traditionally attributed primarily to male designers, revealing the significant contributions of women to their creation. It challenges the historical perception of furniture design as a male-dominated field, emphasizing that women often pioneered functional and aesthetically pleasing designs, partly due to their intimate understanding of home environments. The piece begins with Charlotte Perriand, an idealist who enrolled in Paris’ Central Union of Decorative Arts school in the 1920s as one of the first women to study furniture design. Despite an initial rejection from Le Corbusier, her innovative tubular steel furniture quickly earned her a place in his studio, leading to her co-design of the LC4 Chaise Longue in 1928, alongside Le Corbusier and Pierre Jeanneret. This piece is recognized for its adjustable design and use of industrial materials, embodying modernist principles. The article then discusses Ray Eames's pivotal role in the Eames Lounge Chair (1956), a collaboration with her husband Charles Eames. This design, often solely credited to Charles, is presented as the culmination of years of work in molded plywood, advanced through a U.S. government contract during World War II. Florence Knoll's namesake Knoll Sofa (1956) is featured as a design born from necessity, addressing the need for versatile furniture that suited both residential and commercial spaces, and known for its clean lines and timeless appeal. Nanna Ditzel's Hanging Egg Chair (1959) is celebrated for its unique form and challenge to traditional notions of practicality and beauty, cementing her status as "The Grand Dame of Danish Design." Eileen Gray's Bibendum Chair (1926) is introduced as a politically charged design, serving as her feminist response to Le Corbusier's 'Grand Confort.' Inspired by the Michelin tire company's mascot, the chair features rounded, upholstered forms over a tubular steel base, blending Art Deco glamour with industrial modernism. Lilly Reich's often-overlooked collaboration on the Barcelona Chair (1929) with Mies van der Rohe is also brought to light. This elegant design, drawing inspiration from ancient Egyptian folding stools, signified luxury and status, with its graceful curves departing from earlier modernist efficiency. Margarete Schütte-Lihotzky's Frankfurt Kitchen (1926) is presented as a revolutionary contribution, transforming kitchen design with a focus on efficiency and hygiene. Designed for social housing, it featured built-in storage and thoughtful material choices, empowering women by streamlining household tasks. Lina Bo Bardi's Bowl Chair (1951) is recognized for its playful aesthetics and ergonomic design, with a semi-spherical seat that can be adjusted for varying comfort. Finally, Zaha Hadid's Z-Chair (2011) showcases a futuristic and fluid design crafted from bent aluminum, illustrating her bold architectural thinking translated into furniture. #FurnitureDesign #WomenInDesign #DesignClassics #MidCenturyModern #ModernistFurniture #InteriorDesignHistory #FemaleDesigners #IconicChairs #HomeDecor

Fanny Ward, a London-based interior designer and stylist, shares insights from her extensive career, which spans collaborations with major brands like Fortnum & Mason and Harrods, as well as designing interiors for homes, hotels in locations such as Marrakesh, St Lucia, Geneva, and even super yachts in the Mediterranean. Now in her 70s, Ward reflects on her journey into the design world, which she describes as serendipitous. Her career began after her marriage ended, working at The Dining Room Shop where she discovered a passion for visual merchandising and decorating. An unexpected feature of her home in the Sunday Express by editor Eve Pollard led to a portfolio development through collaborations with renowned photographers like Fritz von der Schulenberg and Simon Upton. Her first significant professional role was with Dulux paint, where she was responsible for promoting their color schemes. This experience, along with her innate 'eye' for design—a trait she attributes to her mother—allowed her to learn on the job and develop a practical approach to interior design. Ward emphasizes that an inherent aesthetic sensibility is crucial and cannot be taught in a classroom setting. Throughout her career, she has worked with a diverse range of clients, but a pivotal moment was her collaboration with Volga Linen and Theresa Tollemache, which led to her taking on a full-time interior design role after decorating a large estate in Scotland. Ward recounts memorable projects, including transforming television presenter Jim Davidson's house into a Moroccan casbah. This project involved extensive customisation using Arabic fabrics, unique chair coverings, abundant cushions, and MDF mouldings to create an authentic atmosphere. She highlights her unwavering passion for good lighting, advocating for 'borrowed light' techniques, as practiced by Georgians, to brighten dark spaces and uplift the mood. She strongly advises against overhead lighting in most rooms, preferring floor or table lamps, with exceptions for bathrooms, kitchens, and strategically hung chandeliers. Her design philosophy also includes tailoring her color palettes to the project's location, incorporating natural elements like lichen yellows and various greens for Scottish projects, and emphasizing textures such as tweeds and chintz to blend the indoors with the outdoors. Ward provides practical advice on furniture placement, suggesting that sofas and chairs should be moved slightly away from walls to create a more inviting space. She also champions the preservation of a building's original character, emphasizing sustainability and the importance of allowing a home's personality to evolve with its inhabitants through quality furnishings. Despite having access to high-end suppliers like Howe London, Love Your Home, George Smith, Little Greene, Annie Sloan, Lewis & Wood, and Nina Campbell, Ward also champions affordable options from Ikea and Dunelm for transforming spaces on a budget. She encourages painting old furniture to give it new life, showcasing her belief that good design is accessible regardless of financial constraints. Currently engaged in a barn conversion in Scotland, Ward expresses her love for working on projects from the ground up, meticulously drawing everything to scale to immerse herself in the design process. She finds immense joy and engagement in her work, which allows her to meet fascinating people and their stories, while also maintaining a healthy work-life balance by setting boundaries for her working hours and taking time for personal life and travel with friends and family. Her advice to aspiring designers is to gain experience by working for others and to be brave in pursuing their passions and building connections. #InteriorDesign #FannyWard #CareerHighlights #DesignPhilosophy #HomeDecor #LightingDesign #ClientProjects #Entrepreneurship #CreativeProcess

In an increasingly commoditized market flooded with generic products, establishing a unique brand identity and achieving customer recognition is paramount for designers. Textile designer Beatrice Larkin has successfully cultivated a signature style in her woven textiles, accessories, and interior products, making her designs instantly recognizable through their distinctive blurred edges and broken geometrics. Her creative process begins with hand-drawn sketches, where the initial marks, intricate patterns, and blotches made with pen and ink are deliberately preserved and celebrated in the finished fabric. This artistic approach ensures a consistent aesthetic across all her woven creations. The production of Larkin's textiles involves a collaborative effort with skilled manufacturers in the north of England. She works with a Jacquard mill in Lancashire to produce small runs of her woven designs, which are then washed and finished in the Yorkshire Dales. The process begins in her Margate studio, where she engages in extensive mark-making with inks, envisioning the final product's scale and application. These initial designs are then refined using Photoshop to determine fabric repeats and optimal sizing. Currently, her collection features two primary materials: fine Merino wool, typically used for throws, cushions, and accessories, and recycled cotton, a more robust option suitable for cushions, upholstery, and curtains. The Merino wool, known for its softness, is sourced from spinners in Italy. Similarly, the recycled cotton collection utilizes rejected fabrics from the clothing industry, which are re-spun and repurposed, also originating from Italian spinners. These yarns are then sent to the Lancashire mill for weaving, brushing, and washing before being returned to Larkin. The final products are then sewn either in her studio or by local Margate makers, though fabric is also available for purchase by the meter. This meticulous production chain underscores her commitment to quality and sustainable practices. Beatrice Larkin's entrepreneurial journey recently received significant recognition with the Start Up Award as part of the Women’s Launch Lab Incubator 2024. As one of ten female entrepreneurs selected from hundreds of applicants, she participated in an intensive three-day program. This program provided access to expertise from innovative female entrepreneurs, growth and marketing strategists, and public-speaking coaches. The experience culminated in pitching her business to venture capitalists and angel investors, including notable figures such as Alison Cork MBE, Akshata Murty, and Judy Naake MBE. Larkin emphasized that this experience offered valuable perspective and a significant confidence boost. Her business was founded in 2013, immediately following her Master's degree from the Royal College of Art, where her final collection garnered interest from prominent buyers like Heal’s. After graduating, she sought a British mill capable of producing her designs at scale. In 2015, Daylesford Organic provided funding for her initial fabric run, which was woven in the Cotswolds and Yorkshire. This collection was sold at Daylesford and served as a crucial launchpad for future manufacturing endeavors. By spring 2017, she began selling at Heal’s and unveiled her first collection at Clerkenwell Design Week. Larkin's immersion in the fabrics industry was a natural progression, deeply influenced by her upbringing. Her father owned Gordon Larkin Fine Wallpaper & Fabric in Canterbury, and her mother was also a textile designer, ensuring a household constantly surrounded by fabrics. Childhood memories of accompanying her father to design shows in Chelsea Harbour and exploring fabric showrooms further solidified her connection to the industry. She attributes her entrepreneurial spirit and the ability to forge her own path to observing her parents' lifestyle as business owners. Three years ago, Larkin relocated to Margate, drawn by its vibrant creative community. Since then, she has expanded her client base, with local stockists including Turner Contemporary and Harbour & Tide. Her brand, Beatrice Larkin, has also been embraced by renowned establishments such as Made, Studio Ashby, Conran and Partners, Tate Modern, and Piglet in Bed. Her journey reflects a blend of inherited passion, formal education, strategic partnerships, and a clear vision for her brand's aesthetic and ethical production. #TextileDesign #BeatriceLarkin #MargateDesign #WovenTextiles #InteriorProducts #SustainableMaterials #BritishManufacturing #Entrepreneurship #WomenInBusiness

Ellen Van Dusen, the designer behind the fashion and homeware line Dusen Dusen, operates from a 600-square-foot studio in Williamsburg, Brooklyn. She moved into this space approximately five years ago, seeking a more interactive and creatively stimulating environment than working from home. Previously, working from home led to feeling isolated and dealing with practical issues like fabric scraps and pins. The studio serves as a dedicated space for her creative endeavors, addressing the challenges she faced in her previous home-based work setup. Van Dusen’s studio is a vibrant display of repetitious shapes, lines, arches, and squiggles, characterized by a bold use of primary colors combined with unexpected hues. The space showcases numerous examples of her brightly colored graphic prints across various products. These include silky dresses, linen jumpsuits, color-blocked jackets, dog beds, patterned throw pillows, graphic bath and beach towels, fruit-printed bed linens, and cozy blankets. Poster boards featuring her most popular prints are also displayed throughout the studio, highlighting the consistent aesthetic of her brand. Despite the abundance of items, the studio maintains an organized chaos. There is a clear sense of order within the colorful environment. For instance, scissors are neatly hung, and books, though seemingly disarranged, are easily located by Van Dusen. She references a book on the principles of geometry, noting its exploration of mathematical patterns, including tessellations—repeating shapes that fit together seamlessly. She observes that some of these geometric principles resemble prints she has independently created, highlighting an intuitive connection to mathematical design. Van Dusen's approach to design is inherently analytical, stemming from her academic background. She has no formal fashion or design training. Instead, at Tufts University, she created her own major, "Psychology of Design," which explored art history through the lens of neuroscience. Her studies focused on how the brain perceives color, culminating in a senior thesis on the use of color by artists Mark Rothko, Morris Louis, and Ellsworth Kelly. Her lifelong fascination with color drives her inquiry into its visual appeal, its role in human perception, and the success of color-centric art. Her interest in art and design began in childhood, influenced by frequent visits to museums in Washington, D.C., and craft projects with her architect parents. This upbringing fostered a diverse range of interests that shaped her aesthetic, which she describes as drawing from many different worlds. As a teenager, Van Dusen began designing her own clothing, using a sewing machine to reconstruct thrift store garments. She often favored bright, unexpected color combinations and graphic patterns, creating her own printed textiles by laboriously sewing patterns onto fabric, as she initially did not know other methods. After moving to New York, Van Dusen received an opportunity to stock her designs in an East Village boutique, prompting her to rapidly learn professional skills like grading, pattern-making, and finishing. She launched Dusen Dusen in 2010, hand-sewing her initial collection from a makeshift workspace in her bedroom. In 2015, she expanded her brand into home decor, including pillows, blankets, bed linens, towels, and pet beds, adapting her clothing prints to different scales for these items. She notes that designing for home decor allows for individual object design, unlike clothing, where fabric patterns are cut from a larger piece. Van Dusen's design process incorporates technology, with her brothers helping her code patterns to generate variations. This method aids in brainstorming and developing new print ideas. However, she emphasizes the importance of unplugging and working with analog methods. Her studio is intentionally divided into a digital workspace and an "analog side" where computers are not allowed, enabling focused drawing and idea generation without digital distractions. Looking ahead, Van Dusen is renovating her home, which is influencing her thinking about larger-scale design. She is also collaborating with a furniture designer and developing upholstery fabric, considering its potential use in both home furnishings and unconventional clothing items. #DusenDusen #EllenVanDusen #BrooklynStudio #ColorPsychology #PatternDesign #HomeDecor #FashionDesign #TextileDesign #CreativeProcess

Camille Jobe and Ada Corral, principals of Jobe Corral Architects, a women-owned-and-operated architecture firm based in Austin, Texas, discuss their design philosophy, recent projects, and collaborative working style. The firm specializes in residential architecture and interiors, with a strong emphasis on adapting designs to the unique and often harsh climate of Texas. Their work frequently incorporates sustainable and context-specific building methods, while also maintaining a strong aesthetic. One of their notable projects, River Ranch, is a modern house located in the Texas Hill Country. For this residence, the architects utilized traditional rammed earth construction, a method chosen to conceptually link the structure to the clients' deep appreciation for the land. The rammed earth, composed of decomposed granite, Portland cement, and water, is poured in layers to create distinct, striated walls that are a central design element throughout the home. These walls dictated particular attention to texture, color, and the interplay of warmth and coolness in adjacent materials and furnishings. The interior furnishings for River Ranch were selected to complement the bespoke nature of the structure, focusing on well-crafted items with notable provenance or distinctive assembly, transforming them into new 'artifacts' within the space. Looking ahead, Jobe Corral Architects are engaged in diverse projects. They are designing the architecture and interior for a young company's headquarters in Austin, aiming to imbue the large commercial space with a residential feel. Additionally, they are working on a public restroom project for Lady Bird Lake in Austin, contributing sculptural, boutique-style facilities constructed from terracotta tile, concrete, and steel, featuring a repurposed concrete pipe for the sink. Their working relationship is defined by a clear division of roles: Jobe focuses on the 'big picture,' while Corral manages the details. Both principals reside in post-World War II concrete block houses on the same street, and they jointly designed additions for their homes post-partnership. Their individual backgrounds significantly influence their creative approach; Jobe, from a family of engineers and artists, found her niche in architecture as a blend of rationality and creativity. Corral, hailing from Puerto Rico, where smaller, efficient homes are common due to climate and resources, emphasizes functionality and efficiency in her designs. The Texas climate and lifestyle play a crucial role in their design thinking. The extremes of cold and heat, coupled with high humidity, directly inform architectural forms and how living spaces function. The informal nature of Texas life also influences their designs, leading to considerations like the traditional role of a 'front door' in a casual, expansive environment. The relatively young architectural landscape of Austin, with fewer historical constraints, offers a 'clean slate' for their contemporary designs. Both architects stress the importance of physical activity—Jobe as a rower and Corral as a runner—as a vital component for managing the stresses of an architectural practice and maintaining well-being. #ArchitecturalDesign #ResidentialArchitecture #InteriorDesign #SustainableConstruction #RammedEarth #TexasDesign #WomenInArchitecture #ModernArchitecture #DesignPhilosophy

Lisa Davis, an interior designer known for her work on a Back Bay Mansion featured in Boston Home magazine, shares insights into her career, design philosophy, and a new virtual design program. Davis transitioned into interior design after a career in fashion/retail merchandising, taking courses at RISD in color theory, drafting, and architectural history. She highlights the Boston Design Center as an invaluable resource for its comprehensive offerings, from fabrics to floor coverings. Other favorite vendors include Donghia for modern furnishings, Schumacher for transitional fabrics and wall coverings, and Stark Carpet and Steven King for diverse floor coverings. Davis considers color an indispensable design element, emphasizing its individual impact and using clients' preferred colors as a starting point for projects. Her designs are deeply inspired by travel, which provides visual experiences that build her design consciousness. She recounts a recent trip to Iceland, noting the raw, dark, and textured beauty of the landscape and the ethereal quality of its light as influential. Davis describes her personal aesthetic as a blend of old and new, worn and fresh, and smooth and textured, with a subtle and classic use of textures and patterns. She advises against mixing too many animal prints in one room, stating "only one species per room." She introduces her 'Design by Post' virtual interior design service, aimed at making interior design more accessible. This program allows clients to provide dimensions and design concepts virtually, enabling Davis to assist with floor plans, color schemes, furniture and fabric selections, window treatment designs, and floor and wall coverings. Clients can also order trade-only fabric samples through her. Davis acknowledges the guarded nature of designers when it comes to sharing sources but reveals her go-to custom work specialists. These include Franks Custom Draperies for soft treatments, PHD (Paperhanging and Design) with Greg Kahler for wall covering installations, Partners in Design for re-upholstery and custom upholstery, Art Applications for custom builds and painting, and Boston Binding for carpeting installation and area rug binding. For DIY decorators, Davis advocates for a mindful approach: "choose well, not often." She encourages investing in quality and craftsmanship over time, accumulating a collection of lasting pieces rather than frequently replacing low-quality items. Her preferred projects are those that start from the initial structural elements, like floors, kitchens, and bathrooms, and extend to the final decorative details, such as window treatment trim. This allows her to fully engage her design skills across all aspects of a space, including color, paint, wallpaper, living space planning, electronics placement, lighting control, furniture, upholstery, and accessories. Currently, Davis is working on an office space on Boylston Street, where budget limitations have spurred creative solutions. She expresses impressive satisfaction with the versatility and appearance of IKEA cabinetry, specifically recommending their Besta wall units for various spaces like offices, media rooms, wardrobes, and dressing rooms. This project demonstrates her ability to deliver high-quality design even with cost constraints, leveraging accessible options effectively. #InteriorDesign #LisaDavis #DesignPhilosophy #VirtualDesign #CustomWork #HomeDecor #BostonDesign #DIYDesign #TravelInspiration

The article highlights a shift in the perception of Scandinavian design, moving beyond the traditional male-dominated figures like Arne Jacobsen, Finn Juhl, and Hans Wegner. It introduces a new publication, '_Real Nordic Living_', which aims to provide a more contemporary and inclusive view of Nordic design by featuring female designers, diverse aesthetics, and lifestyle elements beyond furniture. The core concept of 'hygge' is explored through the work and philosophies of three prominent women designers. Josephine Akvama Hoffmeyer, the Ghanaian-Danish founder of File Under Pop, is presented as a key figure in this modern interpretation. Her company specializes in hand-making ceramic tiles, wallpaper, and paints in Copenhagen. Hoffmeyer's work extends to hotels and residences globally, including a current project in Uruguay. She emphasizes the importance of color in Nordic interior design, noting a move away from the past two decades' prevalence of white and pastels. Hoffmeyer advocates for using specific color palettes to define rooms, such as fresh and cool hues for bedrooms and warmer, denser tones for kitchens or living rooms, to create 'hygge' in an accessible and economical manner through paint. Julie Bonde Bülck of Uh la la Ceramics is another designer featured, known for her porcelain pieces characterized by slick, curved shapes often described as 'seductive'. Her work incorporates a modern, tech-inspired aesthetic, exemplified by spherical dishes with snap-on lids. Bonde Bülck acknowledges Jony Ive as an influence, indicating a blend of traditional ceramic craftsmanship with contemporary design sensibilities. Finally, Ragnhild Wik of Wik Oslo, initially a costume designer, established her eponymous shop in 2014. Her studio, located in a 200-year-old stable in Oslo, serves not only as a workspace but also as a showroom and a communal gathering space for family, friends, and colleagues. Wik’s approach to her studio, filled with secondhand furniture and collected items, embodies the cozy and inviting spirit of Nordic 'hygge', reflecting a personal and collected aesthetic rather than a purely minimalist one. This collection of designers collectively showcases a refreshing and expanded definition of Scandinavian design, one that is more diverse, vibrant, and reflective of modern living. #NordicDesign #ScandinavianDesign #Hygge #HomeDesign #InteriorDesign #WomenInDesign #CeramicArt #WallpaperDesign #ColorTheory