Meet The Lebanese-British Designer Famed For Her Eclectic Mix Of Pop Arts

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

Pilar Zeta, an Argentinian-born, Portland-based artist, creates a distinct visual language she describes as a 'parallel universe,' influenced by Egypt, magic, and metaphysics. Her work spans various mediums, including album artwork for bands like Coldplay, live visuals for Katy Perry, and a past clothing brand named Holographic Universe. Zeta's aesthetic extends to her personal living space, which she shares with prolific producer Jimmy Edgar. Their home is characterized by colorful postmodern furniture, each piece meticulously placed, mirroring the objects in her virtual 3-D landscapes. These designs integrate decontextualized objects with classical human figures, rendered in swirling, soothing colors. This bold visual approach has now been translated into sound with her debut album, 'Moments of Reality,' which also aligns with her retro-inspired personal style. Zeta launched Ultramajic, an audiovisual project that functions as both a music label and an art collective, with Edgar in 2013. Edgar, a seasoned electronic music figure, brings his production skills and interest in the occult to the venture. Ultramajic's emphasis on distinctive album graphics stands out in the electronic music scene, where plain white sleeves are common. The label's visual language creates a vivid and unique world. Zeta’s journey into music began after moving into their Portland home. Surrounded by Edgar's music equipment, the idea emerged to translate her visual aesthetic into sound. They started collaborating, primarily using analog synths from the 1990s, resulting in an album that evokes a New Age atmosphere, combining futuristic elements with old-world mysticism, evident in the esoteric chants of the title track. Her sound is inspired by Japanese musician Haruomi Hosono and the pioneering synth group Art of Noise, but also heavily by her fascination with postmodern furniture. This influence became particularly strong while she was redecorating her house during the album's creation. The seamless integration of her home decor and musical composition made the album artwork creation effortless. For instance, the album features a song titled “House of Memphis,” a nod to the influential design group. Zeta also created surreal objects, described as sculptures resembling appliances without conventional use, with each song on the album having a corresponding object. Zeta's artistic vision emphasizes cohesion across her art, music, and clothing. Her personal style, which she cultivates by collecting vintage clothing, particularly Escada from the 1980s, perfectly complements her colorful and angular design world. She frequently wears vibrant, color-blocked suits, matching her attire to her living environment. Zeta owns approximately 30 colorful suits, with a multicolored Escada suit being a favorite. For Zeta, incorporating color into her daily life is a vital ritual. She selects her clothing based on her mood, often beginning her day with ambient music and incense to foster a creative environment. This deliberate morning routine and colorful dressing significantly influence her daily outlook, a stark contrast to her younger days when she exclusively wore black. She believes that experimenting with color profoundly alters one's mood and perspective, transforming her into what she describes as a "rainbow," wearing colors constantly, even down to her socks. #PilarZeta #PostmodernFurniture #ElectronicMusic #Ultramajic #VisualArt #EscadaStyle #ColorBlocking #ArtAndMusic #HomeDecor

Marina Baisel, the founder of Rarares, a contemporary art space in DIFC, is approaching the art gallery model with a unique perspective, informed by her previous career in interior design. While Dubai's art scene typically features either large commercial galleries showcasing international artists or smaller ones dedicated to local talent, Rarares aims to bridge this gap by bringing both emerging and established global artists whose works are rarely exhibited in the UAE. The gallery's name, derived from the Latin word 'rarus' meaning rare, reflects this curatorial philosophy. Baisel's background in interior design provides a distinct advantage in the art world. Having spent nearly a decade incorporating artistic elements into interior projects, she understands the synergy between art and living spaces. She views interior design as a canvas where art plays a crucial role in enhancing the overall experience, capable of transforming spaces, evoking emotions, and narrating stories. This passion for the artistic component of interior design motivated her transition to becoming a gallery owner, seeing it as a natural progression to combine her love for aesthetics with a desire to support and promote artists. Her interior design expertise significantly influenced the gallery's physical design and exhibition curation. Baisel believes a gallery should be an immersive environment that enhances the viewer's experience, not just a display space. Consequently, the layout, lighting, and overall aesthetic of Rarares are meticulously planned to highlight each artwork, creating a cohesive narrative throughout the space. This careful curation extends to individual exhibitions, where Baisel leverages her design knowledge to consider how artworks interact with each other and their surroundings. Each exhibition is thoughtfully organized to guide visitors through the space, fostering meaningful engagement with the art. Aspects such as lighting, forms, and palettes are considered to establish a harmonious balance between the artworks and the gallery setting. Currently, Rarares is featuring 'Eidos,' a solo exhibition by multidisciplinary artist Mederic Turay, which marks his debut collection of ceramic works and his first show in the UAE. Following this, in April, the gallery will host 'Powerful Spring,' a group female exhibition that explores the philosophical concept of soft power and acceptance, serving as an ode to feminine strength. The gallery's approach reflects a thoughtful integration of art and design principles, offering a fresh perspective on art display and engagement within the Dubai art scene. #Art #FineArt #Gallery #InteriorDesign #DubaiArtScene #ContemporaryArt #ArtCuration #MarinaBaisel

Léa Zana, a former fashion designer, transitioned into ceramics during the lockdown, establishing her homeware brand, Vaisselle. The brand's products are now available in department stores globally. Zana's design philosophy is characterized by an eclectic and authentic style, influenced significantly by her lifelong fascination with color and artistic expression. This interest in color dates back to her childhood, where she recalls a distinct vision for color palettes compared to her peers, a trait that continues to define her work today. Her early exposure to design came from flipping through La Redoute catalogues and designing clothes for Barbie dolls at age nine, demonstrating a nascent passion for creation. She pursued fine art before moving into fashion design, eventually working for luxury brands in Paris and then in footwear design for companies like Mellow Yellow, Zara, Topshop, and ASOS. A pivotal inspiration in her fashion career was Tom Ford's AW99 collection for Gucci, particularly its jewel-tone color palette and use of velvet, which instilled in her the importance of a coherent color scheme in design. Zana's creative inspirations are primarily drawn from nature, such as flowers, and Roman architecture. Each Vaisselle collection incorporates a floral element, and her French upbringing near Roman ruins has deeply influenced her aesthetic. The unexpected move from fashion to ceramics was prompted by a pre-Covid redundancy, which she viewed as an opportunity to pursue her long-standing passion for tableware and ceramics. This led to the creation of Vaisselle, built on principles of sustainability and fair trade. All Vaisselle products are handmade and hand-painted in Spain by local artisans, emphasizing craftsmanship and ethical production. Her personal style and inspirations extend to her home and hobbies. She spends her summers in Mallorca, admiring its antique cement tiles with their raw, matte finishes contrasting with floral designs. Zana is also a keen collector of various items, including elephant figurines from her childhood in Sri Lanka, glassware, and antique French crockery and linens, which evoke nostalgic memories of her grandmother. Literature and cinema also play a significant role in shaping her artistic vision. Françoise Sagan’s 'Bonjour Tristesse' is a favorite book, admired for its unique heroines and their pursuit of freedom. She anticipates new works by Leïla Slimani. Filmmakers Sofia Coppola and Pedro Almodóvar are major influences, particularly for their use of color palettes, artistic direction, and cultural references, with 'Lost In Translation,' 'Marie-Antoinette,' and 'All About My Mother' being notable examples. 'All About My Mother' particularly inspired her to incorporate Iberian culture into her life and art, contributing to her move to Spain before settling in London. Music is an integral part of her daily life, starting with Ethiopian jazz and moving to artists like Leonard Cohen, Bob Dylan, and Serge Gainsbourg. Hosting is a cherished activity, where she enjoys serving sparkling cocktails like Hugo spritzes and decorating her table with pieces from her St-Germain x Vaisselle Apéritif Edit and fresh flowers. French cuisine, particularly Louie in London, is a favorite. She admires glass artist Helle Mardahl and dreams of owning Chanel, reflecting her continued appreciation for high fashion and design. #LéaZana #Vaisselle #Ceramics #Homeware #FashionDesign #ArtisticInspiration #Sustainability #Handmade #InteriorDesign #EclecticStyle #ColorTheory

British artist Sophie Smallhorn, whose work explores the relationships between color, volume, and proportion, grew up immersed in a creative environment. Her parents were industrial and textile designers, and her Montessori education, with its use of brightly colored, precisely shaped wooden objects, fostered an early understanding of color, form, and dimension. This upbringing shaped her artistic approach, which is characterized by sophisticated geometric solids and a focus on color dynamics. Initially, Smallhorn pursued a degree in Wood, Metal, Ceramics, and Plastics at the University of Brighton, where she crafted sculptural furniture pieces that, despite their limited functionality, were primarily driven by color. She began creating assemblages from leftover materials for personal enjoyment, eventually selling them informally. Her acceptance of her work as fine art came only after a gallery explicitly presented it as sculpture, reflecting her background in design and making. Early career milestones included significant commissions from the avant-garde fashion brand Comme des Garçons, which provided opportunities for large-scale installations at its Tokyo flagship. These projects broadened her scope, leading to collaborations such as developing a 56-color palette for the London 2012 Olympic Stadium with Populous Architects, where exterior canvas banners in various hues marked spectator entrances. More recently, Smallhorn has ventured into textile design with Designtex, creating an upholstery pattern named Ribbon. This marks her first formal foray into textiles, a field her mother worked in, and one Smallhorn initially resisted due to her discomfort with digital design processes and the overwhelming possibilities of digital printing. However, a clear vision from Designtex's executive design director, Sara Balderi, during their renewed collaboration post-COVID, made the digital process manageable and even a revelation. The inspiration for the Ribbon motif originated from an enameled snuff box with an undulating ribbon, which Smallhorn encountered at the Victoria and Albert Museum. She developed the idea by physically manipulating collage and colored acetates, twisting and folding them, before translating these physical experiments into a digital layout for pattern repeat, palette, and scale. The initial design, which started smaller, evolved into a bold, graphic, and dynamic pattern with a theatrical quality, largely influenced by Designtex. The ribbon on the fabric is not solid but composed of parallel lines, a deliberate choice by Smallhorn to achieve an effect similar to screen printing, where overlapping transparent colors create a third hue, adding a playful and energizing graphic element. A solid version of this pattern, called Flat Ribbon, is available as a customizable wallcovering through Designtex’s Digital Studio website. Smallhorn notes a significant crossover between her two-dimensional prints and her three-dimensional sculptures and installations, as both involve compositions of hard-edged formal shapes. Screen printing serves as a rapid and playful method for developing ideas, allowing for serendipitous color scenarios that often inform her sculptural pieces. While her three-dimensional work does not allow for layering transparent colors, the print table mimics sketching, providing inspiration for new color combinations. She uses the same acrylic paint for both prints and assemblages, viewing the latter as vehicles for exploring and holding a palette. Smallhorn emphasizes the intuitive nature of her color decisions, often repainting pieces multiple times to achieve a desired equilibrium among what she describes as 'easy' and 'less easy' or 'awkward' and 'less awkward' colors, without relying on a predefined system. Her collaborations with brands like Comme des Garçons and COS exemplify her ability to bridge fine art and commercial design. For COS, she created window displays for five global stores, featuring large, overgrown stacks of shapes designed to complement product displays. This dual engagement with both artistic and commercial realms is a comfortable space for Smallhorn, who appreciates working with brands that share a similar sensibility toward color and design. Her career demonstrates a consistent exploration of color, form, and proportion across various mediums, continually seeking synergistic relationships in her chromatic work. #SophieSmallhorn #ArtistInterview #ColorDesign #Sculpture #TextileDesign #InteriorArt #DesigntexCollaboration #GeometricForms #CreativeProcess

Jessica and Eliana, the duo behind J. Hargreaves Industry (JHi), discuss their creative journey, the genesis of their small business, and their vision for the future of independent artists. JHi is a women-owned and artist-run enterprise based in New York, specializing in one-of-a-kind jewelry, art, and soft furnishings that are deeply connected to the narratives of their larger fine art practices. One of their most significant projects, "Girls at the End of the World" (GATEOTW), intertwines themes of feminism, global warming, and political conflict. This collection seamlessly merges fine art with jewelry designs and printed furnishings, aiming to appeal to audiences interested in fine art, fashion, and interior design. Jessica explains that the project originated from sculptural paintings created during Donald Trump's first term as President, which depicted allegorical situations often inspired by old master history paintings. These narratives then evolved into hand-drawn toile-style prints for wallpaper and soft furnishings, such as curtains and cushions. From these prints emerged the concept for "The Aquanaut's Amulet," a diver's helmet pendant, with each jewelry piece serving as a wearable extension of the original drawings. The collection also includes smaller, collaborative 4x6-inch oil paintings on yupo, depicting women in green suits, symbolizing love and support among women amidst an allegorical catastrophe. The green suits, inspired by Jessica's fashion industry background, represent rebirth, and the futuristic material protects the figures from environmental elements. Eliana highlights their intention to present a collection that showcases the full range of Jessica’s creative abilities and storytelling, ensuring that no medium or audience is excluded. Both founders emphasize the importance of consumers connecting with the vision and ideas behind their products, as well as their materiality. Jessica Hargreaves, the founder, was born and raised in South London and holds a Bachelor's Degree in Fashion and Textile Design from Central Saint Martins, along with an MFA from The School of The Art Institute of Chicago. Her art practice consistently features narrative elements that allegorize personal and political emotions. Her love for fashion and adornment influences her installations, which initially appear decorative but reveal humorous, satirical, or disturbing elements. Inspired by vintage animal jewelry, she began wax carving in 2014, leading to jewelry that maintains a direct link to her painting, drawing, and sculpture. Eliana Shoffner, co-founder and Studio Manager, moved from Texas to New York City in 2019, pursuing a career in fashion. She earned a Master’s Degree in Fashion Studies from Parsons School of Design, where her research focused on the art of adornment and challenging the established art and fashion institutions. The genesis of JHi was serendipitous, as Jessica and Eliana met at Sephora in August 2023. Eliana was captivated by a ring Jessica had made, leading to a conversation about art, fashion, and their shared vision for a practice where both could coexist. After a month of planning, J. Hargreaves Industry officially launched in October 2024. Their mission is twofold: first, to establish a sustainable living through authentic and transparent creative processes, serving as a model for independent artists. Second, they aim to create "Some Other Future," an extension of JHi that will act as a selling platform for various multi-hyphenate artists, reallocating autonomy to those who haven't found their place in a single industry or medium. They believe society can support artists by encouraging consumption habits that favor small businesses and independent artists, promoting ethical production, and questioning conventional pricing. They advocate for using social media to discover and share works by independent artists, fostering a creative ecosystem that thrives from within. #JessicaEliana #JHi #ArtistRunBusiness #GirlsAtTheEndOfTheWorld #FeminismInArt #WearableArt #InteriorDesign #EthicalConsumption #IndependentArtists

Hailey Marie Losselyong, a self-taught, multi-disciplinary visual artist based in Pilsen, operates under the name HML Art & Design, focusing on bold murals, illustrations, and clothing designs that feature abstract female portraits. Her latest project, HML Home, is an installation housed at Vault Gallerie in Pilsen, transforming the gallery space into an IKEA-style apartment. This setup, featuring pieces from her past work including wall art, furniture, and clothing, serves to commemorate her artistic development and her commitment to creating intentional and accessible art. The installation is designed to give visitors the feeling of exploring a friend's apartment, encouraging them to examine various items like a closet rack, stickers, and prints. Throughout the exhibit, a recurring motif of stylized, unbothered women with closed eyes and colored lips appears. Many of these figures incorporate the slogan “Leave Me Alone,” either stenciled on their earrings or positioned alongside them, conveying a message of self-assertion: “Do no harm, but take no shit!” This phrase is integrated into various objects, such as jacket backs, shoes, framed images, flower pots, coffee tables, and drink coasters, and even extends to a bathroom wall, prompting reflection on the women's internal thoughts. Losselyong describes herself as a multi-disciplinary visual artist whose work primarily centers on portraits that highlight femininity and its dualities, exploring various strengths and weaknesses within female identity. Her artistic journey began in college in 2014, where she initially studied business but discovered her passion for painting and developed her unique style after a couple of years. Her art aims to be impactful and recognizable, often featuring large, bold elements and focusing on conveying emotion and movement. Inspiration for her projects often stems from women, particularly women of color. Losselyong prioritizes placing murals of women of color in spaces where they have historically been underrepresented, emphasizing the importance of representation for all individuals in art. The "Leave Me Alone" series specifically originated from her experiences with street harassment. She began incorporating the phrase on clothing after an incident where, despite wearing pants with the slogan, she was followed into a store, highlighting the persistent issue of boundaries being crossed and safety being compromised. This personal experience evolved into an artistic statement, inviting viewers to reflect on their own actions and how they might affect others, promoting mutual respect. Losselyong enjoys working across various mediums, viewing it as a way to challenge herself and foster creative growth, rather than limiting herself to a single form of expression. She values her freelance career for the autonomy it provides in selecting projects. Among her favorite projects is her involvement with the Mural Movement, founded by Delilah Martinez of Vault Gallerie. This initiative, born in 2020 during protests, aimed to beautify boarded-up storefronts with murals supporting Black Lives Matter and Black and brown unity. The movement has facilitated nearly 200 murals, providing opportunities for artists to showcase their work, particularly in Black and brown communities and for small businesses that might not otherwise afford such art. Losselyong advocates for art as a tool for social justice, believing it helps young people see themselves positively and enriches communities by replacing blank walls with vibrant artistic expressions. The HML Home installation is directly inspired by IKEA, reflecting Losselyong's interest in accessible art and functional design. She aims to demystify the art world by integrating art into everyday objects and furniture, allowing people to envision art in their personal spaces. She believes the home is a crucial space for self-expression and that art should not be confined to traditional canvases but can be incorporated into any functional item. Losselyong expressed gratitude for Vault Gallerie and Delilah Martinez's support, highlighting how Martinez provides artists with space and opportunities without imposing creative limitations. For aspiring artists, Losselyong advises early experimentation, learning from professionals, and understanding the business aspects of art, emphasizing that failure is a part of the learning process. She takes pride in the community her art has fostered and plans to continue exploring installations, collaborations, and expanding her artistic reach. #HMLArtAndDesign #HaileyMarieLosselyong #VisualArt #AbstractPortraits #PilsenArt #VaultGallerie #FeminineArt #LeaveMeAloneSeries #MuralMovement

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

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 exhibition 'Malware' at London's Pippy Houldsworth Gallery features artist Qualeasha Wood's tapestries, tuftings, and videos, which explore the concept of the digital glitch and its implications for the Black female experience. Wood, based in Philadelphia, focuses on internet malfunctions as a metaphor for vulnerability and change within systems. She merges contemporary digital culture with traditional crafts, translating digital pixels into stitches in her tapestries and creating intentional glitches in her video works through data compression. Wood notes that in the pursuit of authenticity, many fabricated images are produced, and her work aims to highlight imperfection and decomposition as more natural states. Her artistic process also involves incorporating strings of code into her images, shifting the focus from her physical body to its interaction within digital spaces. Wood's work investigates the disruption caused by 'glitches,' interpreting them both as digital viruses and as the presence of the Black female body within established systems. Her webcam self-portraits, in particular, consider the body as a site for both exploitation and resistance. Her interest in these themes began during her studies at the Rhode Island School of Design, where she observed the pervasive influence of social media. She found that online platforms provided a space for conversations about her experiences as a Black woman, which then informed her art. This led to her first tapestry, 'Cult Following,' which likens social media to a cult or religion due to its ability to simultaneously exalt and scapegoat individuals, a duality Wood experienced as one of the few Black students on campus. The artist's personal experiences with doxing, where her personal information was published online, further solidified her artistic direction. These incidents, occurring before she began creating her tapestries, motivated her to reclaim control of her narrative by weaving her own image into her artwork. Wood sees the digital and traditional realms not as opposing forces but as interconnected systems. Her childhood exposure to her great-grandmother's and great-aunt's crocheting sparked her interest in craft and textiles, recognizing their familiar and accessible nature. Similarly, she views computers as integral to her generation's experience, shaping pervasive relationships with technology. She identifies commonalities between traditional crafts and digital systems, both having inherent rules and offering opportunities for exploitation and creative manipulation. Wood employs a computerized loom to create her artworks, which interprets digital files to produce woven replicas of images. This method was inspired by a tapestry depicting her brother and cousins, a gift that demonstrated how images could be woven without strict adherence to stylistic conventions, utilizing scanned and collaged digital images. The most labor-intensive part of her creative process involves sifting through an extensive collection of personal phone screenshots, numbering in the tens of thousands, to select images for recreation. The actual weaving process, conversely, is less hands-on and typically takes a few weeks, often resulting in unexpected outcomes. She describes this as a release of control, relying on prayer for the desired result. As an avid consumer of digital content, with approximately 14 hours of screen time daily, Wood emphasizes the need for rapid artistic production to keep pace with the fast-evolving internet culture. Her use of pixels in her work deliberately moves beyond conventional beauty standards, embracing an aesthetic that is imperfect and raw. She views her tapestries as a 'double-edged sword,' allowing her to control the perception of her body while also being conscious of the voyeuristic gaze it might attract. The glitch, in this context, serves as a symbol of vulnerability, yet it also empowers her by subverting expectations of perfection and femininity, thereby creating a space for artistic expression and exploration. 'Malware' will be on display at Pippy Houldsworth Gallery in London until April 26. #QualeashaWood #DigitalArt #TextileArt #LondonExhibition #PippyHouldsworthGallery #BlackFemaleExperience #SocialMediaImpact #DigitalCulture

Artist Stephanie Dillon and her husband, Reilly, were captivated by a model home in Eden Prairie, which boasted a blend of whitewashed shiplap and shakes on its exterior, creating a timeless and airy aesthetic. The interior featured light-filled communal spaces, each with a distinct character, moving away from conventional floorplans. The color scheme ranged from calming charcoals and pale neutrals to deep greens and rich terra-cotta, evoking a European atmosphere. Kelli Fontana Vogelgesang, owner of West Bay Homes and the designer behind the model, drew inspiration from her travels to Paris, characterizing the style as French contemporary farmhouse. She envisioned the kitchen as a French pastry shop, integrating multiple layers of meticulously detailed materials throughout the 5,000-square-foot residence. The kitchen's design incorporates three types of glazed tiles for the backsplashes, with a small hexagonal tile chosen for its light-reflecting properties, contributing to an elevated visual experience. Dillon, an acrylic and mixed-media artist known for painting her emotions, found a kindred spirit in Vogelgesang, whose design philosophy also prioritized passion and feeling. Dillon retained Vogelgesang to complete the interior design of their new home. The designer expressed enthusiasm for incorporating Dillon's extensive rug collection. Elements like shiplap and painted charcoal, seen on the exterior, were repeated inside on the basement's fireplace wall and the vaulted ceiling of a lounge area adjacent to the kitchen, along with charcoal-colored square tiles extending from counter to ceiling in the kitchen backsplash. This repetition of color ensures cohesiveness and a holistic progression throughout the home, where all environmental elements relate to one another. Vogelgesang skillfully managed the abundance of materials, preventing a busy or cluttered appearance, much like Dillon blends colors on her canvases. Some design choices stand out, others recede, and some shimmer, collectively defining the mood of each space. The materials coalesce into a balanced and proportionate composition, resulting in a home tailored for an artist. Vogelgesang aims to create spaces that are timeless and elegant without being overly delicate or cost-prohibitive. The lower-level bar area features charcoal shiplap around the fireplace, painted in Sherwin-Williams’s Dorian Gray, and steps down into a sunken media room, showcasing the designer’s preferred brass and gray combination. Brass hardware also adorns the front entry doors. Light fixtures, including those from Mitzi on the library ladder, were strategically chosen. The unexpected entry leads to a "dining hall" that functions as a grand foyer, as described by Vogelgesang. This space features nine-inch-wide-plank white oak floors laid in a herringbone pattern, with ceiling beams bisecting its soaring height, allowing ample natural light. The built-in bar features a backsplash of alternating light and dark neutral tiles, custom cabinetry with dental molding, and a marble sink skirt. Open shelving in the kitchen displays two sizes of backsplash tiles from The Tile Shop, with custom alder wood cabinetry finished with a clear whitewashed stain and brass hardware for an enhanced shimmer. The kitchen, inspired by Parisian pastry shops, includes two islands for ease of navigation, with only one housing a sink to allow for uninterrupted dining on the other. The mudroom boasts large-format heated tiles combined with white oak cabinetry, finished in a whitewash stain, offering an industrial concrete look harmonized with French country cabinetry. A basement guest bath incorporates vibrant color through whimsical floral tiles from The Tile Shop on one wall and Sherwin-Williams’s Perfect Periwinkle on the adjacent wall. The library features a bold mix of Sherwin-Williams paints: Canyon Clay on the walls and Gauntlet Gray in a high-gloss enamel finish on the moldings and doors, complemented by chartreuse chairs. A wide-plank whitewashed cedar wall on the rear deck provides privacy. The prep kitchen off the mudroom embraces color with Waverly Classics wallpaper by York, cabinets painted in Sherwin-Williams’s Green Onyx, and a hammered copper sink, showcasing how personal touches can enhance practical areas. The powder room dazzles with an antiqued mirrored glass tile wall from The Tile Shop, a custom white oak vanity with a marble shelf, and Savoy House sconces. The floors throughout the home incorporate patterned ceramic tiles from The Tile Shop. The home's floor plan, while a traditional rambler, diverges into an unconventional layout where the front entry opens into a vaulted foyer and dining room, serving as a pass-through to the kitchen and great room. #HomeStyle #InteriorDesign #HomeTours #FrenchContemporaryFarmhouse #CustomCabinetry #TileDesign #ArtisticHome #ArchitecturalDetails #EuropeanInfluence

The article explores Qatari-American artist Sophia Al-Maria’s video installation, \"Gravity & Grace,\" which served as the backdrop for Miu Miu’s S/S 2024 collection during Paris Fashion Week. The artist drew inspiration from the Palais d'Iéna, a classical brutalist building by Auguste Perret, which has been Miu Miu’s show venue for several years. Al-Maria aimed to transform the rationalist structure into a surreal, multi-dimensional space, enhancing the audience's viewing experience of the show. Al-Maria's involvement with Miu Miu began after her work, \"The Future Was Desert,\" was exhibited at Fondazione Prada’s Venice outpost in 2023. This film explored themes of environmental devastation, fossil-fuel dependency, and geopolitical complexities within the Gulf Region, featuring 'delirious, post-apocalyptic dreamscapes.' This previous work established a shared interest with Mrs. Prada in human history and deep time, questioning what is real versus what is not. This connection led to her current collaboration, aiming to reflect this shared sensibility in the S/S 2024 show's visual narrative. Her latest film, \"Gravity & Grace,\" is conceptualized as an old fairytale with a new twist, depicting the 'ending of the world' through the dynamic interplay of a court jester and a royal guard. Both roles are played by stuntwoman Ayesha Hussain, who engages in a sword and crossbow battle over conflicting perspectives on whether life is a tragedy or a comedy. The film’s soundtrack features an original piece by the Melbourne-based band Divide and Dissolve, with arrangements by Asma Maaroof, Daniel Pineda, and Joshua Fay, which complements the surreal and dramatic atmosphere of the visual art. The installation, displayed on screens interspersed among the Palais’ columns, featured a moody, cloud-filled sky before the show, transitioning to images of a samurai sword-wielding protagonist and futuristic versions of the building's pillars during the show. The accompanying notes characterized the film’s setting as \"a landscape of technological ruins, an imaginary history invented inside the Palais d’Iéna.\" This description aligns with Al-Maria’s intent to create a surreal extension of the classical brutalist architecture, blurring the lines between reality and imagination. Despite not having seen the full collection prior to creating the film, Al-Maria noted a \"serendipitous symmetry\" between her work and Mrs. Prada’s S/S 2024 collection. The collection itself explored an \"explosion, redressing\" of contemporary notions of beauty, seeking a \"radical expansion, a rich plurality.\" It combined glamour with everyday elements, such as a golden brocade dress over a sweater and shirt, or a lace petticoat with a blazer, alongside Miu Miu’s signature abbreviated mini skirts and exposed logoed waistbands. Al-Maria noted that the collection felt like an embodiment of a sensation she had felt in the air around the present moment, aligning with her film's themes of questioning reality and embracing the surreal in the quotidian. #SophiaAlMaria #MiuMiu #ParisFashionWeek #VideoInstallation #ArtAndFashion #SetDesign #ContemporaryArt #Prada

In 1967, fiber artist Sheila Hicks collaborated with architect Warren Platner to design two linen-and-silk wall panels for the Ford Foundation headquarters in New York City. Platner was responsible for the interiors of the 12-story modernist landmark, designed by Kevin Roche John Dinkeloo and Associates. Hicks's original wall panels, which featured rosettes threaded around metal discs, suffered significant damage over the years due to an attempted fire retardation treatment in the 1980s, the abrasion from Eames executive chairs in the conference room, and cigarette smoke in the auditorium. Recognizing the historical and artistic importance of these pieces, Ford Foundation President Darren Walker, appointed in 2013, initiated their replacement. He commissioned Hicks to recreate the murals. Hicks accepted the project without an artist's fee, underscoring her commitment to the foundation and her artwork. The re-installation took place in August 2014, with Hicks overseeing the process. This reprisal of her work for the Ford Foundation coincided with a broader resurgence of interest in Hicks's art, marked by other large-scale public commissions, including a yearlong exhibition at the Palais de Tokyo in Paris, and a general renewal of appreciation for weaving as an art form. The modern tapestry was produced in smaller, modular sections by Enrico Martignoni, the chief installer, and project leader Dominique Pastor. This modular approach was adopted to facilitate easier replacement if any section were to be damaged in the future. Crucially, the new silk-blend threads will not undergo the same caustic chemical fire-proofing treatment that damaged the original works. Additionally, the new panels are more cost-effective, utilizing a silk-blend thread and plastic discs in place of the original metal components. The article also touches upon the broader design elements of the Ford Foundation building. Warren Platner, known for his opulent modernist style, integrated bold metallics into his interiors, such as the gold-plated, floor-to-ceiling doors leading to the subterranean auditorium. The landscape designer Dan Kiley, celebrated for his work on projects like the Miller House and the St. Louis Arch, created the lush indoor urban garden within the Ford Foundation. Architects Kevin Roche and John Dinkeloo designed the headquarters with the employee in mind, reversing the traditional skyscraper layout to ensure every office had exterior views or overlooked the indoor park within the ten-story glass atrium. Skylights at the top of the atrium, framed in Cor-Ten steel, allow natural daylight to flood the space. Even the executive chairs, modified by Charles and Ray Eames, featured brown leather upholstery and brass accents to complement Platner's design, and notably, still included pull-out ashtrays. #SheilaHicks #FordFoundation #TextileArt #ModernistDesign #InteriorDesign #ArchitecturalRenovation #ArtInstallation #WarrenPlatner #KevinRocheJohnDinkeloo

Brittany Hakimfar, the founder of Philadelphia's Far Studio, emphasizes the importance of natural materials and tactile textures in her interior designs, allowing them to take center stage. Her design philosophy centers on the inherent sophistication of organic elements, which she believes always shine through in an arrangement. For her current flat lay, Hakimfar drew inspiration from richly veined marbles, specifically Calacatta Viola with its lavender hues and Nero Marquina with its bold black-and-white patterns. These marble selections guided her choice of fabrics and finishes, resulting in a cohesive and visually captivating scheme. The final palette, as described by Hakimfar, exudes organic refinement with a touch of glamour. She incorporates eye-catching all-natural pieces, such as honey-hued zellige tile and dark brass counter stools, to celebrate nature's raw beauty. Key elements in her design breakdown include vintage black beads, which infuse an eclectic vibe, and Brinjal paint by Farrow & Ball, chosen for its rich, deep purple hue that acts as a statement color and creates a special mood when used in a lacquered finish for cabinetry. Hakimfar frequently uses one-of-a-kind ceramic pieces and found objects, such as vintage ceramic dishes and bud vases, to add unique qualities to spaces. For custom wood furniture, she relies on Faithful Roots, praising their craftsmanship and natural oak finishes, which she notes can be seamlessly mixed with marble. Brizo's Brilliance finish in Luxe Gold is her preferred choice for subtle brass, as it lacks yellow undertones and complements various wood tones and marbles. For custom stools, Thomas Hayes Studio's dark patina brass finish is favored for its ability to blend with her interiors. Fabric selections play a crucial role in adding texture and color. Verellen's Nevada fabric in Emerald mohair is highlighted for its perfect color and texture. Donghia at Kravet's Covet fabric in Bordeaux velvet was used to complement the Calacatta Viola veins of a marble fireplace, offering a luxurious and soft feel. Jiun Ho's Linyati fabric in Lion velvet adds interest and shine, particularly when used for pillows. For tiling, Riad Tile's zellige tiles in Honey and Forest Green are appreciated for their beautiful mustard tones and unique, natural, handmade quality. Marble selections from Stone Tech Fabrication include Calacatta Viola for its dramatic swirling veining and grounded natural materiality, and Nero Marquina for its subtle yet dramatic mix, often used for book-matched applications. Marble Systems' Chester Plaid marble mosaic in Britannia Light, Snow White, and Black Honed is destined for a bathroom project, promising a mix of pattern and neutral colors. François & Co.'s natural limestone in Paris Grey is anticipated to add texture and a timeless feel to upcoming kitchen projects. Wallcoverings include Phillip Jeffries' vinyl plastered wallcovering in Fresca, which mimics a textured plaster look, and vinyl abaca wallcovering in Fern, chosen for its texture and color. Phillip Jeffries' Venetian plaster wallcoverings in Espresso Brown are noted for their moody vibe and realistic resemblance to authentic plaster. Finally, Sacco Carpet's Thisby rug in Ivory offers luxurious texture in a neutral tone, grounding spaces like primary bedrooms, while Stout Textiles' Emory fabric in Toast is used for window treatments due to its sheer texture and neutral colors. Vintage zen stones are also incorporated as simple, sculptural, and tactile styling elements. #InteriorDesign #NaturalMaterials #BrittanyHakimfar #FarStudio #Marble #TextileDesign #HomeDecor #DesignInspiration #LuxuryInteriors

Rachel B. Hayes, a Tulsa-based artist, creates striking large-scale patchwork textile installations using vivid, translucent fabrics. These temporary artworks are designed to transform perceptions of both indoor spaces and expansive natural environments. Hayes experiments with scale, color, pattern, light, and movement, resulting in joyful and dynamic installations. Her work has been showcased across the U.S. and Europe, frequently appearing as quilted sun sails in courtyards. One of Hayes's recent collaborations, "Horizon Drift" with Black Cube in Denver, featured overlapping triangular elements that cast colorful shadows, reminiscent of her piece "A Moment in Time" in Capri. These temporary installations, typically on view for a few weeks or months, integrate with their surroundings, drawing parallels to the monumental fabric interventions of Jeanne-Claude and Christo. Her richly patchworked or woven creations celebrate light, breeze, and traditional American quilting techniques. Hayes frequently revisits earlier works and site-specific experiments to fuel new designs, finding continuous inspiration and energy in these temporary explorations. She often returns to familiar locations in South Dakota, Missouri, and New Mexico to document her art multiple times, observing how varying light, weather, and landscape changes influence the perception of her pieces. She views many of these works as elements within a broader, long-term artistic vision. Some of Hayes's installations are designed for extended outdoor display, lasting at least five years, which has led her to develop expertise as a "fabric engineer" to ensure the materials withstand the elements while remaining visually impactful. Light, particularly sunlight, is a crucial component in Hayes's artistic process and site selection. For indoor installations, she carefully considers architecture and human movement, often "chasing the sun" to identify areas where light can interact with her textiles, creating reflections and colored shadows. While she utilizes software like Photoshop or Procreate for pattern composition, her primary focus remains on the physical properties of the material and its interaction with specific environments. Hayes's current installations include _Patterned by Nature_ at the Chicago Botanic Garden throughout the summer, _Soft Structures_ at Jane Lombard Gallery in New York City until August 8, and _Body’s First Architecture_ at Ely Center of Contemporary Art in New Haven, Connecticut until August 10. Her semi-permanent works are on display at the International Quilt Museum in Lincoln, Nebraska, and The Gathering Place in Tulsa. Additionally, her flag is currently flown outside Ballroom Marfa in West Texas during gallery hours. #RachelBHayes #TextileArt #SiteSpecificInstallation #Quilting #FabricSculpture #ContemporaryArt #ArtInstallation #TranslucentTextiles #LightArt

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

This article features Lauren Jarrett and Melissa Greenwood, the Indigenous artists behind the brand Miimi + Jiinda, who gained recognition for their artwork showcased in Deb and Andy’s living area on the television show 'The Block.' The artists discuss their journey, inspirations, and creative process. Lauren, one half of the duo, has been painting for most of her life, while Melissa became seriously involved in art six years prior. Their inspiration stems from their tribal lands, ancestral teachings passed down through generations of grandmothers, and the stories of their strong matriarchal lineage. Their beautiful Gumbayngirr country and Melissa’s experiences as a modern-day Indigenous woman also significantly influence their work. They describe their art as a symbolic portrayal of their interpretation of Dreaming stories, drawing inspiration directly from nature. They utilize acrylics and pastels, with a distinct influence from their feminine matriarchal line. Creating a piece of art can vary in duration, from a week for smaller works to several months for larger ones, with the artists often working on multiple paintings simultaneously to maintain creative flow. Their personal aesthetic is characterized as earthy, natural, and minimal, deeply influenced by the textures and beauty of their traditional homelands. They also express a fondness for bright and bold elements that uplift the senses. The names for their artworks are derived from their Gumbayngirr language, which serves as a constant source of inspiration. The article highlights specific artworks, such as 'Mirrinmi' (Be Happy), which symbolizes finding joy in one's life path, and 'Yuludarra,' which represents their three hero ancestors in Gumbayngirr culture. The artists recount how their involvement with 'The Block' began when Deb and Andy contacted them via Instagram for a commissioned painting. Andy, being Biripi, was specifically seeking Aboriginal art, and the connection was made given Miimi + Jiinda’s Gumbayngirr heritage, located just a few hours from the Biripi Nation. They expressed immense excitement and honor in creating the piece for 'The Block,' hoping it would promote greater visibility for First Nations art across Australia and showcase their rich culture. They find inspiration in artists like Albert Namatjira and prefer to create their art 'on Country,' surrounded by their ancestral lands. Their creative environment often involves a soundtrack featuring artists such as Xavier Rudd, Ben Howard, Vance Joy, Ziggy Alberts, Nora Jones, and Baker Boy. A typical day for Lauren and Melissa is dynamic, ranging from intensive painting sessions, where their studio is filled with art supplies, to administrative tasks, order fulfillment, and sourcing materials. They also dedicate time to walking on Country, gathering natural fibers for weaving, and seeking inspiration for future artworks. Regarding balancing art with life and family, they suggest involving children in the creative process, as it can be a source of entertainment for hours and fosters shared artistic enjoyment. The article concludes by showcasing some of Miimi + Jiinda’s artwork, available online, and emphasizes their stunning original creations. #IndigenousArt #ArtistSpotlight #TheBlock #AustralianArt #GumbayngirrCulture #HomeDecor #ContemporaryArt #DreamingStories #ArtisticProcess

Brittany Hakimfar, founder of Philadelphia's Far Studio, emphasizes the importance of natural materials in her interior designs, allowing their tactile textures and organic motifs to define her earthy yet elegant aesthetic. Her current design inspiration stems from richly veined marbles, specifically lavender-hued Calacatta Viola and black-and-white Nero Marquina. These stones serve as the foundational palette, guiding the selection of complementary fabrics and finishes to create a cohesive and visually captivating scheme. Hakimfar's design incorporates a variety of natural elements, including honey-hued zellige tile and dark brass counter stools, all chosen to celebrate the raw beauty of nature. The resulting palette aims for organic refinement while subtly introducing glamour. Key elements contributing to this sophisticated blend include vintage black beads, which add an eclectic touch, and Farrow & Ball's Brinjal paint, a rich, deep purple hue that acts as a strong statement color and can create a special mood, especially when used in a lacquered finish for cabinetry. One-of-a-kind ceramic pieces and found objects, such as a vintage ceramic dish and bud vases, are integral to adding unique character to spaces. Custom wood furniture from Faithful Roots, known for its top-tier finishes and craftsmanship, is frequently incorporated, demonstrating versatility in blending with various marble types. Hardware and metal finishes are carefully selected; for instance, the Luxe Gold finish by Brizo is favored for its subtle brass tone without yellow undertones, ensuring compatibility with diverse wood and marble schemes. For custom stools, Thomas Hayes Studio's dark patina brass finish is preferred for its seamless integration into Hakimfar's interiors. Fabric choices are crucial for texture and color, with materials like Verellen's emerald mohair and Donghia's Bordeaux velvet (Covet fabric) being highlighted. The Bordeaux velvet was specifically chosen for armchairs to complement Calacatta Viola marble, while Jiun Ho's Linyati velvet in Lion adds interest and shine to custom banquets. Zellige tiles from Riad Tile, in honey and forest green, are valued for their natural, handmade quality and unique colors. Marbles, such as Calacatta Viola and Nero Marquina from Stone Tech Fabrication, are selected for their dramatic veining and grounding natural materiality, often used for striking features like a full bar wall or fireplace surrounds. Additionally, natural limestone in Paris Grey by François & Co. is anticipated for its ability to introduce texture and a timeless feel to kitchens. Wallcoverings play a significant role in adding depth and character; Phillip Jeffries' vinyl plastered wallcovering in Fresca offers a textured plaster look, while their vinyl abaca wallcovering in Fern creates a subtle layer in dining spaces. The Venetian plaster wallcovering in Espresso Brown by Phillip Jeffries is praised for closely mimicking real plaster, lending a moody ambiance. Finally, the Thisby rug in Ivory by Sacco Carpet provides luxurious texture and a neutral tone, grounding primary bedrooms and creating a calming environment. Styling elements like vintage zen stones, along with sheer and neutral window treatments from Stout Textiles, complete the curated design approach, emphasizing a harmonious blend of natural materials and refined aesthetics. #InteriorDesign #MaterialSelection #LuxuryInteriors #NaturalMaterials #ColorPalette #DesignInspiration #HomeDecor #TexturalDesign #MarbleInteriors