Interior styling, in Colin King’s case, may be understood as a matter of intuition, quiet and a certain degree of friction—the point at which a room begins to feel as though everything is in its right place. That does not mean things have to remain there forever. For the New York-based interior stylist and product designer, what matters are the relationships between objects: an arrangement that retains its coherence even as it changes. His approach might be seen as a flexible network of connections and fine lines, within which life is allowed to unfold. And has to. A portrait of a designer whose creative process is guided by intuition.

»Everything I do is instinctual. When I try to describe my process to people, I’m like, it’s not a process, it’s a feeling«, King, who describes himself as a »rearranger« and »quiet adjuster«, tells us at the beginning of our meeting. Although his orderly, harmonious and at times minimalist interiors might suggest otherwise, King emphasizes his affinity for the unpredictable—and his fondness for moments of surprise: »I love being surprised. But I feel like when you get to see as much as I do, it’s hard to be surprised.« Indeed, Colin King, one of the most sought-after creatives in his field, has seen a great deal—including numerous homes of prominent figures that he has designed and furnished. In parallel, he has made a name for himself in recent years not only as a set stylist for photo productions, but also through collaborations with global interior brands. For the former professional dancer, nature and art remain his most important sources of inspiration. »Art fed my soul. Bratwurst handled the rest,« he typed into his phone as an Instagram caption at the end of his trip through Europe.

For the cover shoot, we meet Colin King inside the Wotruba Church, a brutalist structure built in the mid-1970s on the outskirts of Vienna. His slender fingers trace the building’s rough concrete surfaces as he tells us that he served as an altar boy during his childhood in Ohio. What stayed with him from that time, he says, was above all an appreciation for ritual. A sensitivity to processes and arrangements now shapes his work as well. As one of the world’s most renowned interior stylists, he understands that everything has its place — and that it is worth trusting one’s intuition and remaining present in the moment. The same applies to saying »yes« at the right time, as he explains in our conversation. For a period, however, he pursued this approach in a rather extreme way. »I kind of live my life in extremes. I’m either saying yes to everything or no to everything. I’m extremely visible or extremely hidden. I think my whole life is just going to be about moderation and finding that middle ground.« After a brief pause, he continues: »At the same time it happens quite often that the things that I almost said no to end up being really special. They surprise me. And then the things I said yes to because I thought that they are going to be amazing tend to be the ones that never work out or don’t meet my expectations.«

King’s frequently portrayed Tribeca apartment became a creative exploratory space for the interior stylist over the years, shaping his identity and sharpening his aesthetic eye.

Expectations, King suggests, are a subject in themselves. Ideally, he says, one should have none at all and simply surrender to uncertainty. In a city like New York, he adds with a laugh, there is hardly any other way. Colin King, however, grew up on a farm in Ohio before deciding, as a young adult, to move to New York to study classical dance. He worked as a personal trainer, including with Gwyneth Paltrow and Victoria Beckham, and found his way into styling almost by accident—long before he even realized that stylist was a profession. The fact that he had no experience in the field may have been his greatest »superpower«, he explains. Even today, he continues to work against allowing the many experiences he has since accumulated—and the expectations that often come with them—to get in the way of his intuition. »Experience can definitely hinder intuition. But if I relied on what had worked in another home or on another set, I wouldn’t be able to listen to what the particular home wants from me. But that’s what it’s all about. A big part of my job is listening. I think that in the end it’s about balance because it’s also helpful to know the things that don’t work. Which flowers don’t photograph well, for instance. Of course, people often come up to me who have seen something I’ve done and want exactly the same thing for their house. I can only ever reply that I’m happy to help them achieve that particular feeling, but it won’t look exactly the same.«

In 2023, West Elm, in collaboration with Colin King, launched a 41-piece capsule collection of furniture, textiles, and accessories — photographed at the Schindler House on the occasion of the 100th anniversary of the architectural icon built by Rudolph Schindler.

What he means by this becomes clear when leafing through »Arranging Things«, the book he published in 2023. Not only does it offer numerous insights into the breadth of his aesthetic approach, it also outlines the parameters and influences that shape his work. He reflects on the importance of light and shadow, on nature as a source of inspiration, and on the value of resisting the urge to fill every apparent void. The book reveals the full range of his creative practice—including a selection of sets he designed for editorial shoots in international magazines as well as projects created for renowned design brands. Alongside editorials, brand collaborations and the design of private homes, Colin King—who now also runs his own studio in New York—serves as Artistic Director-at-Large at Beni Rugs, designs objects for the Danish design house Audo, creates textiles for the Australian brand Cultiver, and develops capsule collections for companies such as West Elm and Zara Home.

EVERYTHING FALLS INTO PLACE

Colin King works without a fixed formula. Despite the precision his profession requires, he is not concerned with predictability—what matters more are liveliness and a degree of unpredictability that he consciously allows. For the New Yorker by choice, this trust that everything has its place replaces the idea of perfection: he trusts the moment in which moving a vase or an object transforms a room from quiet unease into comfort—»everything falls into place«, as the English phrase aptly puts it. »I think that there is something beautiful about not chasing things and letting them come to you. And trusting that they will come to you. It’s rarely the end result that makes me feel the most reward, it’s usually the process leading up to that. There is a similarity to dancing when that happens. When I am not thinking of anything, my phone on Do-Not-Disturb and I am dancing around the room, letting the objects draw me to where they want to be and who they want to be with«, Colin King notes in a calm voice.

For the cover shoot, we meet Colin King in the Wotruba Church, built in the mid-seventies on the outskirts of Vienna — photographed by Robert Rieger.

In his own life, however, King also consciously seeks out moments of productive unease and discomfort. This was also the case when he moved out of his much-photographed loft in Tribeca. »I don’t think it’s about constantly reinventing yourself, but I do think it’s important to keep developing and to step out of your comfort zone again and again«, he says. In Colin King’s case, and in the context of his move, the latter is to be understood not only metaphorically, but quite literally. He sold almost all of the objects that had been in his former apartment. Tabula rasa was the stated aim, yet the emptier the loft became, the more paralyzing the undertaking felt. »I put my identity into this apartment and I really built something there. I built my career there, I built this point of view. And when I left that space, I not only started questioning who I am, but also what I like. I felt like that point of view was faltering a bit, and I didn’t really actually know what I liked anymore.«

At first, it sounds rather paradoxical, yet for him the desire for unease and a certain degree of »weirdness« went hand in hand with a search for quiet. The wish to press pause for a brief moment and truly breathe became increasingly present. »It wasn’t exactly intentional at first. But over time, the stillness became its own kind of studio. A place where ideas could stretch out. Where I wasn’t styling to fit someone else’s frame. I was learning how to sit within my own«, Colin King writes in his second Substack entry.

PERCEIVING INSTEAD OF HOLDING ON

Colin King published the first text on September 9 of this year. »The Last Layer« is the title of the collection of personal essays, which King himself describes as an »interior monologue «. »Less polished. More personal. Slightly less concerned with whether you think I’m a genius. Slightly more concerned with whether the candle is off-center in a meaningful way.« So far, he has published a new text every Tuesday. The title of the blog refers to the part of the styling process that King enjoys most, because it is the layer where most of the emotion resides. Or, put another way, the layer that ultimately carries the story. He puts it like this: »This Substack is named after the part of design I care about most: the final 10 percent. The instinct. The pause. The slightly off-center object that changes the mood of the room. And maybe your day«.

Minimalistically staged earth tones — and a deliberately off-center, delicate plant, showcasing Colin King’s preference for »off-centered objects«; styling for the Seventh House gallery in Los Angeles.

In conversation with Chapter, he emphasizes that composition plays a central role in this—allowing objects and things to enter into a dialogue with one another. »When things are not in relationship to each other, I don’t find them quite interesting. When they’re not living harmoniously, or even with tension, it doesn’t move me. I have no emotion. I almost feel like there’s something wrong. Sometimes I feel like I don’t like an object, but when I see it in connection with another object, I change my mind.« For this reason, he also enjoys working with existing pieces owned by his clients. »I learn from the things I didn’t choose myself.«

Examples of the importance of dialogue between several objects can also be found in »Arranging Things«. One image of the kitchen in his former New York apartment, for instance, shows the possibilities that emerge around the extractor hood and stove. Or that bookshelves do not always—and certainly not exclusively—have to be used for books. If the connection is not immediately apparent, it can be worth stepping away for a moment and then looking again »with fresh eyes«.

And while Colin King’s work is, of course, concerned with finding answers to design questions, he refuses to subordinate beauty to mere functionality. As he emphasizes several times in conversation, this by no means excludes the imperfect or the unpredictable—quite the opposite. In the past, he says, he has heard criticism far more often for his supposed aversion to color than for his play with irregularities. »50 Shades of Beige« are simply preferable to him to making things loud in terms of color. Anyone who meets Colin King, however, will quickly notice that the key to a certain lightness may also lie in not taking oneself entirely seriously at all times. His writing, too, offers numerous examples of this. Among them is his wry self-description as a »spokesperson for furniture moving pads«. What is certain is that behind the many layers of the »recovering people pleaser«, which include absolute professionalism, lies a core of self-irony. His mischievous laugh, which escapes him again and again, also suggests that there may be more impishness—and more color—to him than one might assume at first glance.

EVOLUTION OR REVOLUTION?

At the end of our conversation, one term keeps resurfacing: »stylist«—a professional title that, at times, does not quite do justice to his work. »I find it interesting that many people feel that the term has something diminutive or dismissive about it«, Colin King says. »I almost took pride in being a stylist, because for me, styling was so much more than shopping or placing objects, it was art direction and thought, creative direction and collaboration with all of these amazing creatives and photographers. And it really felt like I was composing, almost painting and just creating art. I really wanted to reclaim it and redefine that term. Now I feel like I’ve gotten a little looser, because I think that we’re all just creative people finding our own voices. I think I’ll always be multidisciplinary and always be doing a little bit of everything. It feels like being a hummingbird going to different orchards and flowerbeds. I am just jumping around and listening to what calls me. I don’t sit around waiting for someone to tell me who or what I am.«

Isamu Noguchi, Charlotte Perriand, and Jean Prouvé; styling in the apartment of
Jeffrey Graetsch, founder of the Raisonné gallery in New York.

That had not always been the case, he adds. As in dance, his work as a stylist is also about letting go. Colin King pauses for a moment before beginning to explain: »I find so many parallels with where I’m at now and my life as a dancer because ultimately dancing is about trusting your body and trusting that you know the steps you practiced in rehearsal. And then there is this moment where you do have to let go because if you’re too controlled, people will notice and it’s actually not that interesting to watch. There were only a few moments of joy I experienced when I was dancing, because it was so hard for me to let go and just be in the steps without thinking about the steps. I think as creatives, it’s like the longest journey from the head to the heart, but that’s where we have to be operating from, because otherwise there’s a dishonesty in the work because it feels too controlled, too contrived.«

One question remains: which of the two terms might better describe his career so far—evolution or revolution? Those who follow Colin King’s work would probably first choose the former. But is there not also a quiet revolt in the love of tablecloths that seem, at first glance, too short? One that is not loud or heavy-handed, but corresponds instead to the softness that his interiors also radiate? And that can also be found in his movements and in the way he speaks? The answer is probably »yes«. Perhaps, however, this kind of categorization does not matter all that much. What matters more is the feeling that everything, somewhere, has its place.

FIRST PUBLISHED IN CHAPTER №XIII »IDENTITY« — WINTER 2025/26

Chapter Sixpenny has a highly refined visual language, yet it never comes across as a showroom brand—it feels made for real homes. What does it mean to you to design luxurious furniture for spaces that are genuinely lived in?

Robert Natale That’s very kind, and it may have to do with the fact that we see ourselves first and foremost as a direct-to-consumer digital-first brand. Our intention, regardless of whether our pieces are bought directly from us or from designers we work with, is for them to be beautiful, comfortable and life-ready.

Chapter When you think about good design, how do you know a piece of furniture is not only beautiful, but truly works in everyday life—and what allows a room to grow more compelling over time, rather than lose its impact?

Robert Natale I don’t think you can truly know until you spend time with it. Beauty can often exist in a vacuum (although obviously context impacts beauty as well), but function in my experience is usually revealed over time. Living with something impactful like furniture is like learning to dance with a new partner—it requires you to slightly reimagine your own patterns. The result or satisfaction is just as much up to you as it is the thing itself.

That said there are some elements that certainly come to mind as being more obviously life-friendly. Our designs are almost all slipcovered, which sounds like an adorable perk at first, and then your dog pees on the cushion and a lightbulb goes on. Being able to change the fabric or color is also a gorgeous option that I think really suits today’s emphasis on constant change and modularity at home.

Layered textures, carefully chosen materials, and thoughtful details define an approach to
modern luxury that creates calm, warm, and grounded interiors.

Chapter What personal experiences and memories of home, living, or certain spaces have shaped your work as a designer?

Robert Natale I was raised by a single mother who … let’s say … »strongly encouraged« a meticulously tidy space. She also had a distinctive style of her own, so the awareness that a home could be more than a roof over your head was instilled in me at a very young age. That later developed into a desire to bring my own creativity to my own spaces—as a teenager I was always rearranging furniture, painting rooms or moldings or doors, collecting shoddy antiques, etc. Ultimately that »what if we try it this way?« curiosity has proven to be an invaluable asset for my work life.

Chapter What have you learned can only be understood through actually living with a piece of furniture—something that is difficult to anticipate or represent during the design process—and how do you respond to those discoveries?

Robert Natale That a significant furniture purchase—such as a sofa—can hold a lot of weight in one’s life. That puts the responsibility as a designer on creating the best marriage of timeless beauty, exceptional comfort, and practical convenience when a product is taken to market.

Chapter When you look at your own home, what is it that makes it feel distinctly yours? And in your view, what is it that makes a home feel truly authentic?

Robert Natale My wife and our dogs. I could live anywhere as long as they’re around. We spend most of our time between China and New York and have collected pieces from our travels that add personality, but really it’s an energy thing. We try to maintain a state of restorative chaos whenever we settle in for the foreseeable months.

When it comes to authenticity, I think it depends on how you mean it. If we care to live as our most unencumbered »true« selves, then anything goes. But I think the holy grail in designing a space or a piece is whether it holds the space for that so-called authentic self—how we’d like to lounge or move about, how we’d like to achieve the balance of our aspired selves via color, texture and shapes that inform the other facets of our identity.

Sixpenny’s first-ever printed sofa from the The Wild Air Collection.

Chapter As both CEO and the creative force behind Sixpenny’s design vision, you inhabit two roles that do not always naturally align. When business logic and design intuition pull in different directions, which voice do you trust first — and how do you bring them back into dialogue?

Robert Natale I feel very fortunate 1. that most of what I want to design aligns with the brand’s business priorities, and 2. that half the fun of design is solving lots of mini »problems« for the business, so we haven’t had a lot of »Sophie’s Choice« moments when it comes to design versus business.

I would say that in a way we don’t feel a sense of complete ownership over our own brand. We are of the mindset that the vision of the brand is shared between us and our customers, and interactions with our customers have provided stewardship for both our design and business instincts. [Ed.]

Chapter Starting a new project, what excites you most about the work ahead?

Atelier LK  Taking a client’s brief and translating it into a vision that is entirely unique to them is what excites us most. The process is deeply human—about understanding who they are, how they live, and what they value, and designing from that place. When the client is truly at the heart of the work, the finished space allows them to see themselves reflected in it. That sense of recognition is what drives the work and makes it so rewarding.

Renovation in East London: Architecture and interior design concept for a two-story house
with two bedrooms for actress Olivia Cooke

Chapter What kind of questions do you ask yourselves at the beginning of a project that are not necessarily visible in the final result?

Atelier LK From the outset, we ask how to be truly sensitive to the site, historically, geographically, and culturally. That sensitivity often is visible in the final work, through a sense of integrity and restraint. Alongside that are quieter questions that sit beneath the surface—how a space can resist trends, how it can feel relevant now, and still be something that holds up over time. These questions shape decisions long before anything tangible appears.

Chapter How do you determine when a space truly needs intervention, and when it benefits more from restraint or subtraction?

Atelier LK This balance is one of the most important aspects of any project, and we find it can only be determined through time. Time to understand the space, to sit with it, and to allow initial ideas to evolve rather than arrive all at once. Through that process, it becomes clearer what should remain, what needs to be modified, what can be removed, or what must be added. Often a space holds details or historical qualities that deserve preservation and at other times, those same qualities are better reinterpreted. We are currently working on two significant historic homes, one carrying the legacy and integrity of an artist who lived there, and another that is a mid-century gem with characteristics inherent to its original construction. Both projects have required patience and restraint, learning what to hold on to, what to let go of, and how to introduce something new without disrupting the integrity of what was already there.

Chapter What sources outside of architecture or design currently influence your thinking, and how do they quietly enter your work?

Atelier LK Art, music, travel are constant reference points. They influence mood, and we can be inspired by these external factors that might help inform how we want the light to fall in a room, how we want materials to age…the references are rarely literal, but they help shape spaces that feel considered and carry a certain atmosphere.

Chapter What role does art play within your practice, both conceptually and in the spaces you create?

Atelier LK Art plays an integral role in our work. We approach spaces as highly site-specific, often designing or commissioning furniture and artwork in direct response to the architecture. We want clients to live with pieces that carry narrative, works created by artists or designers whose sensibilities resonate with them and with the space itself. Sometimes art leads a project, setting the tone for everything that follows—the direction, palette, and mood of a space. At other times, it arrives at the end, completing the space or introducing just enough disruption to give it soul. Equally, the absence of art can be intentional. Conceptually, the space itself can function as art, and restraint can be just as powerful as a room full of artworks. [DM]

Chapter You describe yourself as an interior architect, a term that sits between architecture and interior design. What does this distinction enable in the way you work with space?

Astrid Houssin I see interior architecture as a bridge between architecture and interior design. Architects focus on the bones of a project—structure, regulations, permits, and all the technical systems like plumbing and electrics. Interior designers, on the other hand, shape the atmosphere: furniture, fabrics, finishes, all the elements that would drop if you turned a house upside down.

Interior architecture sits in between and brings both worlds together. We work on the creative and aesthetic details, but we’re also trained to design joinery, bathrooms, kitchens, and to produce the technical drawings needed to bring everything to life. That means we can take on a project in its entirety, rather than splitting it between an architect and an interior designer.

I think you can really feel the difference in a home that’s been designed this way. Interior designers tend to imagine very carefully how a client will live in a space, while architects often lean towards something more minimalist and conceptual—which can be exactly right for some projects. Personally, I’m always aiming for a balance: spaces that are beautiful, but also warm, intuitive, and highly functional. A home should feel good to live in, not just good to look at

Chapter At what point did designing bespoke furniture become a natural extension of your interior practice, and what initially triggered that move?

Astrid Houssin Designing bespoke furniture felt like a very natural extension of my interior practice, even though I sometimes wish I’d started sooner. It really came from a moment of transition in my life. I had just moved back to Paris after fifteen years in London, and it forced me to rethink my creative direction from the ground up.

In London, I designed homes primarily for British clients, which often meant working with a lot of colour, pattern, and layered decoration. While I loved the process, it wasn’t fully aligned with how I’d design my own home. The Parisian design language is very different, and I quickly realised that my existing portfolio didn’t quite reflect where I wanted to go—or how I could position myself among more established Parisian architects. I needed a radical shift.

Furniture became that turning point. I began spending time at the Musée des Arts Décoratifs, and the inspiration came very organically. I started designing pieces I genuinely wanted to live with myself, and from there the collection grew. From the beginning, I didn’t want the furniture to feel like one-off statements. Versatility was important to me.
That’s why the brand is highly bespoke but accessible beyond just designers. Each piece is made to order and can be customised in size, wood finish, and lacquer colour. It allows both designers and private clients to create something that feels truly personal.

Chapter Your furniture pieces often feel precise without being rigid. How do you balance structure and intuition during the making process?

Astrid Houssin I design the pieces very intuitively at first, without overthinking them. That initial phase is instinctive—it’s about proportion, balance, and how the object should feel rather than how it’s made. Once the design is there, I become extremely precise about production.
My architectural background plays a big role at that stage. I produce very detailed technical drawings and pay close attention to the smallest details, which leaves very little room for error. It allows intuition to lead the creative process, while structure and control come in to support it. In that sense, the freedom happens early, and the discipline comes later.

I was actually very lucky with the first prototypes—they came out exactly as I had hoped, so we didn’t need to go through multiple iterations. I wanted the pieces to feel understated and timeless rather than over-designed.
In many ways, the collection reflects both sides of my personality: playful and bold, but also quiet and minimalist; slightly masculine, yet equally feminine. That balance is what makes the pieces feel versatile and why they resonate with both men and women.

Chapter When designing furniture, what does longevity mean to you, both in terms of everyday use and visual presence over time?

Astrid Houssin For me, longevity starts with understatement. Timeless pieces have a quiet presence—they’re there, but they don’t dominate a space or demand attention. They’re the kind of objects you don’t grow tired of living with, even years later. I strongly believe in the idea that less is more.
We live in a world of clutter, fast fashion, and mass production, and that makes quality and craftsmanship more important than ever. As an interior architect, I’ve ordered thousands of pieces of furniture over the years, and you develop an instinct for what’s well made—not just visually, but in how it feels, how it ages, and how it’s assembled.

I pay a lot of attention to the smallest details, because that’s where quality really reveals itself. When nothing is overlooked, a piece naturally feels considered and enduring. Our homes reflect who we are, and so do the objects we choose to live with. I think it’s important to invest in pieces you’ll genuinely love long-term.
The pieces in our debut collection are minimalist, but with a touch of playfulness. That balance gives them visual longevity—they remain calm and refined, but still a pleasure to look at over time.

Chapter Looking ahead, what kinds of spaces or objects are you interested in exploring next?

Astrid Houssin I’m very excited about what’s coming next for the furniture brand. We’re about to launch a new range of hand-painted finishes created in collaboration with a very talented Parisian decorative artist. These finishes will be available on selected pieces from our debut collection, and the idea is to continue expanding the range over time.

Rather than constantly introducing entirely new designs, I’m interested in allowing existing pieces to evolve. By adding new finishes and materials, the collection can keep living and changing, offering fresh possibilities without leaving earlier designs behind. Alongside that, I’d like to introduce a small new collection each year to complement what already exists.
Lighting is another area I’m very drawn to. After the second furniture collection launches, I’d love to explore lighting design as a natural next step.

Beyond objects, I’m also dreaming of a physical space in Paris—a showroom for our furniture that would feel welcoming and curated. I’d love it to be a place where I can also showcase and support other creatives whose work I admire. There is so much talent out there, and I strongly believe in supporting one another and giving visibility to people doing beautiful work. [Ed.]

Chapter As partners in life, work, and creative vision, how do you each remain true to your individual sensibilities while working toward a shared vision?

STUDIOTWENTYSEVEN Fortunately we are aligned with the direction and curation of the gallery which makes working together seamless. Since opening STUDIOTWENTYSEVEN, we’ve built a practice that values individual creativity while working toward a shared vision for the gallery. Our approach relies on deep conversations, mutual respect, and a commitment to supporting designers whose work resonates with both of us. This allows us to honor our personal sensibilities while making curatorial decisions that align with the gallery’s overall vision—whether it’s selecting works with a strong story, sculptural sensibility, or emotional impact.

Chapter Is there a design period you both feel particularly drawn to, and what continues to resonate with you about that moment in history?

STUDIOTWENTYSEVEN Our work focuses primarily on contemporary collectible design that pushes the boundaries of form, material, and function. While we don’t focus on a specific historical period, we are drawn to moments in design history that emphasize craftsmanship, narrative depth, and emotional resonance. What continues to inspire us is work that creates dialogue between function and expression and engages the viewer on a personal level.

Chapter Looking back at the evolution of STUDIOTWENTYSEVEN, is there a particular curatorial phase or project that you feel especially connected to today, and why?

STUDIOTWENTYSEVEN Without a doubt, the opening of our flagship gallery in New York in 2024 is the project we feel especially connected to. A space where we brought to life who we are, our taste, our sensibility. A space where we combined our interior design with the curation of works from different artists and designers in a poetic environment. Since 2018, the gallery has evolved into a global platform for collectible design. We’re particularly proud of projects that pushed the boundaries of functional art and elevated artists’ work through thoughtful scenography and solo exhibitions. These experiences allowed us to cultivate a community that values collectible design while expanding our curatorial creativity beyond traditional formats. We feel especially connected to moments where exhibitions successfully merge narrative, material, and form—when visitors are fully immersed, and the artist’s vision is amplified through the space.

Chapter Do you see yourselves as mediators of ideas between emerging design talent worldwide, and how do you ensure that your clients remain open-minded and trust your vision?

STUDIOTWENTYSEVEN Supporting emerging talent is central to what we do. We invest in designers who bring a sincere, unique vision and a commitment to excellence, helping them develop a universe rather than just individual objects. We build relationships through storytelling and education, helping them understand the context, materiality, and significance of each piece. Our »by appointment« approach allows us to give clients the time and attention needed to immerse themselves in the works and trust our curatorial guidance. In this way, we act as facilitators of ideas—connecting global designers with collectors who are open to new narratives and perspectives.

Chapter What do you ultimately want people to feel when they encounter a space or collection shaped by STUDIOTWENTYSEVEN?

STUDIOTWENTYSEVEN We want visitors to feel transported—invited into worlds crafted with intention and sensitivity. We hope that guests leave with a renewed appreciation for the poetry of objects and the emotional resonance of design, and an understanding of how thoughtfully considered design can shape the way we live. Each exhibition or collection is designed to create a dialogue between viewer, object, and space, leaving a lasting impression that is both personal and memorable. [Ed.]

The matte Sørensen leather combines a soft feel with everyday robustness. It doesn’t age—it matures. With every touch, it develops depth and character, a patina that lends an almost sculptural quality to the sofa’s curves. Four color tones create different atmospheres: Cognac  and Willow Green  bring a warm retro touch to the interior, while Oat Beige  and Anthracite  represent the understated elegance of Scandinavian spaces.

Tylko rethinks comfort from a user-centric perspective. Adjustable headrests, rotatable lumbar cushions, foam, and pocket springs that retain their shape—Smooth  accompanies breaks as effortlessly as long evenings. Thanks to its modular design, it can be precisely adapted to spaces using over twenty elements: as a compact two-seater, a generous corner sofa, or a freely defined living landscape.

»With leather, we wanted to give the Smooth Sofa an additional dimension«, explains designer Krystian Kowalski. »The material emphasizes the gentle curves and makes the sofa even more sensual.« And indeed: in leather, Smooth  appears less like a classic upholstered piece of furniture and more like an object that balances between function and form: conscious, calm, and enduring.

Every detail can be precisely customized using the Tylko configurator, delivered with white-glove service directly to its destination. A piece of furniture that not only can be shaped but also gives shape itself: to the space, to everyday life, to the way we live.

More information at tylko.com

»In 1921, Elsie de Wolfe, the world’s first professional interior decorator, stood before a New York courtroom, suing a client for unpaid services. When the judge asked her to define her profession, she famously replied, ›I create beauty‹«—this is how the introduction to »Making Space« begins, a volume that brings together 250 of the most influential female interior designers. Not all the women featured in the book are as well known as Elsie de Wolfe or her colleague Rose Uniacke. Yet the thoughtfully designed volume also gives space to forgotten, lesser-known, and emerging designers.

Elsie de Wolfe, Tea House, Planting Fields, Oyster Bay, NY, USA, 1916

»Making Space« shows that while interior design was already in women’s hands at the beginning of the 20th century, it took an astonishingly long time for it to be acknowledged as a field of creative expression. Previously, the prevailing view was: women take care of the interior to best fulfill their household duties. Only gradually was interior design recognized as an independent profession—and no longer merely seen as a hobby or an extension of unpaid housework.

Dorothy Draper, Greenbrier Hotel, White Sulphur Springs, WV, USA, 1948

The book also points out that many of the early female designers came from privileged backgrounds. Among them was Dorothy Draper, whose electrifying interior design for the Greenbrier Hotel in West Virginia in 1946 featured a bold black-and-white checkerboard floor, turquoise-and-white striped walls, and wallpaper with oversized magenta rhododendrons.

Laura Ashley, Artist’s studio featuring the Bloomsbury Room collection, London, UK, 1987

The renowned Welsh decorator and textile designer Laura Ashley built a global empire around her identity as a mother and housewife. Her signature floral patterns appeared feminine in a way now considered old-fashioned, yet they concealed another side of her personality—that of a shrewd businesswoman who was both an entrepreneur and a trendsetter.

Ana Milena Hernández Palacios home and studio, near Valencia, Spain, 2023

With modernity, interior design also changed in a clearly recognizable way. Although it might seem so in retrospect, not all designers embraced the industrial materials of the Machine Age. It is worth noting that these were primarily materials traditionally associated with notions of masculinity. Eileen Gray’s soft, comfortable Bibendum Chair (1926) can be read in this context as a feminist response to the sleek designs of modernism.

Xiang Li, Loong Swim Club, Suzhou, China, 2019

In »Making Space«, 250 such stories are told—each unique in its own way. Photographs that clearly show the distinctive design styles of the female designers complement the biographical texts. Both the images and the short biographies illustrate how women have claimed and shaped spaces over decades—and in decisive ways contributed to the recognition of interior design as a profession. Furthermore, »Making Space« makes it clear that interior space is never neutral: it is always shaped by the people who design and inhabit it. [SW]

Making Space. Interior Design by Women.
Hardcover, 29 cm x 25 cm, 288 pages
phaidon.com

Charlotte Albert and Alexis Lamesta from Necchi Architecture want to create spaces that are not only characterized by a unique atmosphere, but also deliberately break away from familiar visual habits and elude a certain temporal classification. With their work, they pursue the goal of leaving out the classic criteria of interior design, which has further sharpened the distinctiveness of their projects.

Chapter Apart from important aspects such as sustainability and functionality, how important is the visual experience of a space to you?

Necchi Architecture We don’t create spaces based on visual impact, and we get anxious when clients who meet us for the first time describe their vision with words like »wow-effect«. However, the visual experience we create should always be associated with a sense of comfort. In order for people to experience a rather unusual sense of comfort, we believe we need to make the eye feel uncomfortable. Ultimately, by creating »visual accidents«, we are trying to challenge new ways of seeing, creating small scenarios that break with the usual criteria, but still making you feel good on an emotional level.

Chapter Although your work tends to give the impression of being from another era, there’s a certain attitude that makes it unmistakably modern. What are the key principles of your work and its aesthetic?

Necchi Architecture We’re not sure if we have any key principles, but we strongly believe that it’s important not to be afraid of judgement, of being out of step, of making mistakes and learning from them. Creating spaces also means telling a story, and if that story can be told without even being classified by date, it’s because we’ve managed to create an atmosphere, an attitude, a moment, rather than a smooth, reassuringly fashionable place. Even though we’re not trying to be backward-looking, modernity has always been created from a variety of old elements as well as from cultural heritage that goes back many decades. Using furniture that already has a history and that doesn’t seem to fit the space at first glance helps to prevent the space from becoming stale. We’re also always hoping that, over time, our clients will complement our work by adding extra layers to it, that come from their own personalities and attitudes. For us, a successful project is defined by both the client and ourselves being happy in unison.

Chapter How do you define the concept of personal taste and how does it influence the balance between individuality and timeless design in your projects?

Necchi Architecture »Everyone has their own bad taste.« In the spirit of this statement, we see taste as an attitude, not as a guide to good manners and a lesson to be learned-anything that comes naturally serves this purpose.

Chapter To what extent does your work reflect this personal taste, and is there a moment during the design process when the brief becomes more of an artistic playground?

Necchi Architecture We never ask ourselves whether or not any element of our work is in so-called »good taste«-it’s a term we reject, as it is used too often and has catered to a certain way of being in order for something to be considered as »cool«. As a team working together, each of us naturally tends to gravitate towards certain artistic movements, different eras, and an aesthetic opinion specific to our individual characters. In the process of creating, it all comes down to being open to taking the opposite view and trusting our intuition. When developing projects, we’ve found that the more we have to convince a client of the design, the further we actually have to go in the design. This may sound like a contradiction, but it keeps us from becoming creatures of habit, instead pushing and renewing our own boundaries.

FIRST PUBLISHED IN CHAPTER №XI »TASTEMAKERS« — WINTER 2024/25

At first glance, the name of the contemporary design gallery Béton Brut in London gives a static impression, but it actually stands for an imperfect rawness that serves as a symbolic starting point for founder Sophie Pearce, from which she brings spaces into clear form and function with intention and instinct—one of the most important pillars of her approach.

Chapter What are the origins of Béton Brut, and how has the gallery’s philosophy evolved since its founding in 2013?

Sophie Pearce I co-founded Béton Brut in 2013 with a desire to present vintage in a way that felt fresh and intentional. Over a decade ago we were at the peak of midcentury mania—lots of teak and rosewood—and that kind of offering had become intrinsically linked with the image of a »vintage dealer«. Though I also started with modernism, I was trying to buy pieces around its margins—Dutch De Stijl, Finnish modern—and curate them in a unified aesthetic more akin to a fashion brand. As such, as my tastes evolve and the subgenres I collect have changed, the brand remains recognizably »Béton Brut«. So while I now have works of 1930s functionalism and art deco intermixing with 1970s Italian and 1980s French design, there are key aesthetic signatures that endure: Sculptural silhouettes, a balance of rational and organic, with interplays in texture and scale, set in a monochromatic palette.

Chapter In what ways does the name »Béton Brut« reflect its curation and aesthetics?

Sophie Pearce Béton Brut comes from the concrete finish used in modernist architecture. It is left »unfinished« after it’s cast, so there are seams in the surface from the formwork. It feels representative of the collection somehow—rational and honest, with this sense of organicism and past life. We wanted a strong name that gave a nod to the vintage side of the business, but didn’t limit us to it because we are also a contemporary design gallery and offer prop hire. In the broadest sense, our aesthetic will always be informed by the principles of modernism. While I seek patina, I’m fundamentally drawn to clean and streamlined forms, strong geometries, neutral shades and of course function.

Chapter In your opinion, what makes a space interesting?

Sophie Pearce Fundamentally I think it’s about contrast and a curiosity for unexpected combinations. There are so many ways to approach this as a concept. Plays on scale—so thinking about something quite oversized or totemic versus a really precious small piece or a fine detail. You can think about lightness versus darkness, and the way a piece can shift in spirit based on the way it’s lit or what other tones are nearby. Contrasting textures is often a good place to start. There’s so much richness in the juxtaposition of a long-pile mohair with, say, a pale gloss lacquer or paper lamp. Patina is often a shortcut to interest. The accumulated character of a piece over time can act as a wonderful anchor for a scheme or bring another dimension to something that’s otherwise quite muted or rationalist.

Chapter How would you describe your own taste and what role does instinct play in forming such a thing as »personal taste«?

Sophie Pearce In the simplest terms I’m particularly drawn by strong sculptural forms, which are often grounded in minimalism. Though I don’t restrict the collection to modernism as a design movement or fixed era, it’s definitely rooted in those guiding principles. Instinct has always been a key tenet of my approach. Instinct is taste. Generally, I’m an »ask questions later« kind of dealer. If I see something I love, that I would present in my real or imagined home, then my boxes are ticked. I then go down the rabbit hole, finding out everything I can about the piece and designer. I also think instinct comes from accumulation. A steady accumulation of visual references in your mind’s eye over time that drive your autonomic response to a work in the future. Taste is therefore having eyes on things, again and again.

FIRST PUBLISHED IN CHAPTER №XI »TASTEMAKERS« — WINTER 2024/25

Good design is known to be defined by more than just purely aesthetic aspects; it is a purposefully created experience that connects products or spaces and emotions. British designer Miminat Shodeinde, who founded her London-based studio Miminat Designs back in 2014 when she was still a student, conceives flowing spatial structures that create emotional experiences and explore themes such as gravity and water, as well as influences from her Nigerian roots. With her furniture, which can also be found in museum collections around the world, Miminat Shodeinde aims to create spaces that meet the supposedly banal need of her international clients for beauty and relaxation through interior design.

Chapter  You have worked on projects around the globe, from Ghana, Nigeria, Portugal, and the UK. With regard to this internationality, what do you think is the underlying need and shared vision, your clients have in common? And if so, how do you approach this as a designer?

Miminat Shodeinde  My work is about the way we experience space and about beauty. Wherever I am designing, I want to create spaces that people instantly relax in, and I think that’s a shared vision I have with my clients. Our process is very fluid, but there are common thematics — I like to play with notions like gravity, aeronautics, water, and more, as well as explore my African heritage and the power of the female body.

Private housing project, Cape Coast, Ghana, 2020
Sculpture, privately owned

Chapter  As a creative, you are arguably absorbing inspiration from many sources, but do you remember the first artist or artwork that left an impression on you?

Miminat Shodeinde  I love Käthe Kollwitz. Her work is so deeply expressive and evocative, it really speaks to the soul. On the design side, the work of modernist architects like Oscar Niemeyer and Lina Bo Bardi. Their work and ideas. The poetry of their creations.

Private residential project, Gloucestershire, England, 2022

Sculpture, Alberto Giacometti, from private collection

Armchair, »S33 Chair«, Marcel Breuer

Chapter  How much importance do you attach to the emotional component of design?

Miminat Shodeinde I think I am a naturally empathetic person. I think that design can have the power to move you and to provoke emotions, both positive and negative. I recently designed a collection of vessels inspired by the strength of my mother; it was a cathartic process for me.

Private residential project, Simons Town, near Cape Town, South Africa, 2022

Chapter  Recently, you have also released your debut superyacht concept named M/Y K. Can you tell us a little bit more about what considerations went into the design?

Miminat Shodeinde  I was very much inspired by Japanese design principles when designing the M/Y K yacht, which felt like a natural reference point as I wanted to create a »floating sanctuary« characterized by clean lines, thoughtful wabi-sabi-inspired materials, and a serene color palette which evokes a feeling of quiet sophistication. It was intended as not only a vessel for art but a masterpiece in and of itself. The design had to accommodate five separate rooms: the owner’s suite, VIP cabin, three guest cabins to serve as crew quarters. Standout features we chose to incorporate include the glass-covered atrium to the front of the saloon and the extended beach club with swimming pool to the stern.

M—Y—K Yacht (Yacht design concept), 2024

Concave mirror in red, custom-made for M—Y—K yacht, David Adamo

]]> https://chapter.digital/en/renaissance/ Thu, 21 Sep 2023 10:51:13 +0000 https://chapter.digital/renaissance/ TEXT & INTERVIEW DZENANA MUJADZIC | PUBLISHED IN CHAPTER №VIII »elements« – SUMMER 2023

The newly awakened interest in design topics of all kinds, especially interior design, has also given new relevance to the design of one’s own four walls. The elevated status of physical space can also be seen when looking at a new, younger generation of antique dealers like Adriano Balestra. With the opening of his new gallery in Los Angeles, he is transferring the atmospheric staging of his online presence to the exhibition of his work in an analog setting.

Chapter Originally being from Rome, how has The Eternal City in one way or another shaped your understanding of antiques and ancient objects?

Adriano Balestra Walking around Rome being surrounded by and exposed to its beauty almost forced me to appreciate the history of my country. It ultimately trained my eye for design and helped me understand proportions. This goes from the architecture of the historical buildings to the color values of Old Master paintings and just a general sense and appreciation for beauty. Something that I am the most grateful for is that I was fortunate enough to travel since I was little. Being exposed to other European cities at a young age definitely helped me understand different styles, designs and cultures a whole lot better.

Chapter Theatrical lighting and atmospheric colors — what inspired the staging of your recently opened physical space where you showcase your finds not only to private collectors but also to the public?

Adriano Balestra Lighting is everything to me! When I visited Japan for the first time I instantly understood that lighting plays a significant role in its culture. It is used in a way where the eye is not disturbed by it so that the individual is able to experience the given environment at its fullest, inviting them to stay for a while. I follow this principle not only in my home, but also in my showroom and photography where I use very dimmed lighting creating an intimate space for others and myself to enjoy. It’s all about making it a unique experience for my clients.

Chapter What is your idea of beauty and how does it reflect in your work?

Adriano Balestra I am a perfectionist. Beauty for me is about symmetry, color balance and contrast. I have to selfishly admit that I am very much aware of my talent — which is my eye for design and beauty — and I am very grateful for it. On the other hand, beauty also lies in imperfection. This theory grew on me with time after being exposed to the Japanese Wabi-Sabi philosophy where imperfections are both meaningful and in their own way, beautiful. In this sense, my idea of beauty is constantly evolving.

Chapter Building a personal collection usually requires a lot of patience, on the client side, as well as research, on your side. What role does intuition play within this usually long and slow process?

Adriano Balestra Luckily, my intuition speeds up and therefore plays a relevant role in the process of sourcing hidden treasures around the world making me able to create a new setting and experience at the showroom relatively quickly. So while I am assigned to the restless part of the job, my colleagues’ patience and dedication are being of tremendous value to my business as a whole.

Chapter What is the best piece of advice you’ve been given in the context of vintage and antique sourcing?

Adriano Balestra Trust your eye and don’t compromise. Creating a setting so specific wasn’t easy, but I always followed my instinct finding and exhibiting pieces in the showroom that I love, appreciating their story rather than following any trends. These are the pieces that usually end up creating a balanced and special curation that my clients and myself can appreciate.

Renowned home furnishing brand West Elm is known for its designs that elegantly balance aesthetics, quality and everyday practicality. However, the first collection now unveiled, co-designed with Colin King, precedes years of partnership. »I’ve been working closely with West Elm for over four years and we’ve collaborated on over a dozen photo shoots across the U.S. – from Sea Ranch to Miami to Tucson. The creation of a product line felt like the natural evolution of this behind-the-scenes partnership. It aims to share our creative synergy with the world«, King says of their collaboration, which is most notable for demonstrating a deep appreciation for materials, craftsmanship and aesthetic detail.

Inspired by nature and the fascinating play of light and shadow, the new 40-piece collection ranges from simple boxes that serve as pedestals for beloved mementos to sculptural lighting elements that not only impress with their unconventional finish and shape, but also always bear Colin King’s unmistakable stylistic signature.

»Everything is connected, but has its own identity«, Colin King says about his design philosophy, which is unmistakably reflected in the collection. The combination of natural materials such as woven rattan and travertine paired with timeless silhouettes perfectly embodies West Elm’s great demand for simple, good design.

The collection is a tribute to the art of arranging. When asked what makes a perfect space for King, he gives an almost unexpected answer: »I like clutter. The best spaces look authentic and unaffected. The authenticity, I think, is the magic. As Charles Rennie Mackintosh once said: There is hope in honest error, none in the icy perfections of the mere stylist«. [SL]