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Journal - Salone del Mobile - Hero Mobile

>We are thrilled to be at Milan Design Week, the largest global festival for design, bringing together visionary creatives, established and aspiring architects and interior enthusiasts worldwide. The highly anticipated, week-long fair includes events and installations that serve as a launchpad for emerging designers and an opportunity to unearth new talent – a goal we share at [Curio](https://www.curio.space/)

We’re proud to spotlight the following [Curio](https://www.curio.space/) makers who exhibited works at the event. 

![Journal - Salone del Mobile - Body Image 18](//images.ctfassets.net/x6xe625x10yr/kLoAzbhvsUllwyNoqJ92k/70762a03cb53278ba84b1ea8258b14d0/Journal_-_Salone_del_Mobile_-_Body_Image_18.jpg)

__Ames Living__

Inspired by Colombia’s beautiful landscapes, colours and textures, Ames' vibrant and textural furniture and lighting collections are a feast for the senses. Collections are made in partnership with Colombian craftspeople working in small, family-owned ateliers, from Santa Marta to Bogotá. Artisans use locally-sourced fique fibres, iraca palm leaves, werregue grass and recycled plastic.

*‘Every single product expresses the personality of their makers and honours a different facet of Colombia's traditional techniques.’*

[SHOP NOW](https://www.curio.space/m/ames-living)

![Journal - Salone del Mobile - Collage 16](//images.ctfassets.net/x6xe625x10yr/6A3aljQ3iUfGhJYDlp4OPe/8ed6b675755a47eb54c5abe1720fcfcc/Journal_-_Salone_del_Mobile_-_Collage_16.jpg)

__Ghidini 1961__

Born from of a 50-year-old family-run metal fabrication business, Ghidini 1961 works with world-renowned designers to create luxury metal furniture, lighting and objects, defined by high-quality Italian craftsmanship. Based in the town of Villa Carcina in Northern Italy, Ghidini1961 specialises in die casting brass, aluminium and steel. Its vast and varied catalogue of products includes table accessories, upholstered furniture, lamps and bookcases, pairing metals with leather, textiles and precious marbles. 

*‘Decades of heritage and generations of craftspeople built what is now Ghidini1961 from scratch. Our craft has always been taming and refining precious metals.’*

[SHOP NOW](https://www.curio.space/m/ghidini-1961)

![Journal - Salone del Mobile - Collage 18](//images.ctfassets.net/x6xe625x10yr/6csYBwe8BAqFZiEdTYjjtP/83687807f97692c4c118d98e24b64065/Journal_-_Salone_del_Mobile_-_Collage_18.jpg)

__Gardeco__

Established in 1999, Gardeco was born from a deep-rooted passion for design and an appreciation for fine craft. Collections are authored by an impressive team of international design talents, including Guy Buseyne, Jacques Vanroose, Ann Vrielinck, Stefan Schöning, Raffaella Benetti, Rudy Vancanneyt, and Armando Di Nunzio, to name but a few. Gardeco prioritises sustainability and community wellbeing, supporting local projects with exceptional furniture and accessories crafted from ceramic, bronze, glass, paper pulp, and soapstone. 

*‘Our goal is to introduce talented designers and artists to a broader audience via exclusive shops, design stores, museum shops, art galleries, architects, and interior designers.’*

[SHOP NOW](https://www.curio.space/m/gardeco)

![Journal - Salone del Mobile - Collage 17](//images.ctfassets.net/x6xe625x10yr/1peNEFd5roEQcVwRhH5TBs/4a00556aa7458c10b7d7ba8cb2ca880a/Journal_-_Salone_del_Mobile_-_Collage_17.jpg)

__Jaipur Rugs__

The leading Indian rug maker reinterprets age-old crafting techniques to weave artisanal creations that recall various design movements, from hand-knotted woollen Moroccan rugs to Art Deco-inspired flatweaves.

*‘Let goodness, fairness and most importantly, love prevail in business; profits will inevitably follow.’*

[SHOP NOW](https://www.curio.space/m/jaipur-rugs)

![Journal - Salone del Mobile - Collage 15](//images.ctfassets.net/x6xe625x10yr/ft3ri8NMa4ItUK9M2iayo/c08f487a15aaf9636dcff5da9cf4b57b/Journal_-_Salone_del_Mobile_-_Collage_15.jpg)

__Venini__

For more than a century, master glassmakers and artists have met at the furnace founded by Paolo Venini in Murano, Italy. Venini’s community of exceptional makers now produces glass objects of unrivalled quality for clients around the world.

*‘Our rich palette of 125 tones is the utmost expression of our artistic and cultural heritage. This array of colour is unrivalled in Murano glassmaking.’*

[SHOP NOW](https://www.curio.space/m/venini)


Featuring our exclusive edit of Curio makers.

Journal - A design lover’s guide to Milan - Blog Listing Thumbnail

Journal - A design lover’s guide to Milan - Hero Mobile

>Furniture designer and maker, Marta Sala splits her time between Paris and hometown Milan – and her design-led collections beautifully capture the essence of both.

In the run up to Milan Design Week, we unveil the designer’s inside track on the innovative, art-filled city. Whether or not you’re in town for the Salone, bookmark her must-visit cultural spots and eateries for your next visit.

Marta hails from one of Italy's most distinguished design families. Her uncle, Luigi Caccia Dominioni, along with Ignazio Gardella, Corrado Corradi, and her mother, Maria Teresa Tosi, co-founded the renowned furniture group Azucena in 1947. Eager to carve her own design path, Marta reinterprets her family's legacy with a more contemporary vision, retailoring her heritage for a new generation.

[![Journal - A design lover’s guide to Milan - Body Image 8](//images.ctfassets.net/x6xe625x10yr/1lpgAxwQg5JSttEYs0axVi/7331b315b4217942efc9248a9090f678/Journal_-_A_design_lover_s_guide_to_Milan_-_Body_Image_8.jpg)](https://www.curio.space/murena-arms-chair/p/S22FMARA006-001)

Marta creates her globally recognised designs with exclusive materials she sources from around the world, collaborating with master artisans for their manufacture. Focusing on thematic collections, she produces bespoke furniture of exceptional quality.

>Marta’s Milanese Must-Sees

>Oslo Made in Heaven

![Journal - A design lover’s guide to Milan - Collage 8](//images.ctfassets.net/x6xe625x10yr/15E4isTAZGtnNWWLlD8Q1G/3c24ac01cccd46ff63104bb31e978af0/Journal_-_A_design_lover_s_guide_to_Milan_-_Collage_8.jpg)

In need of a pick-me-up? Head to this newly opened café, filled with award-winning ice cream and cakes. Italian indulgence at its finest.

>Miyabi Milano

![Journal - A design lover’s guide to Milan - Collage 7](//images.ctfassets.net/x6xe625x10yr/47czZZNFmVRyZ4LuaE1FBv/875e566add2d6d4bd8da1ad096ec23a4/Journal_-_A_design_lover_s_guide_to_Milan_-_Collage_7.jpg)

Located on Corso Monforte, this elegant Japanese eatery is must-visit for sashimi lovers. Dishes are simple, fresh and refined.

>Palazzo Parigi Hotel & Grand Spa

![Journal - A design lover’s guide to Milan - Body Image 7](//images.ctfassets.net/x6xe625x10yr/2j1FFslnjCAiLBm8qgJawt/4c636e3e4a23872fbe7f0c5251b0f36d/Journal_-_A_design_lover_s_guide_to_Milan_-_Body_Image_7.jpg)

Cap off the day with an aperitivo at the hotel's charming secret garden – Marta’s favourite spot for a moment of respite.

>Fondazione Luigi Rovati

![Journal - A design lover’s guide to Milan - Body Image 9](//images.ctfassets.net/x6xe625x10yr/2jKWO3o1Vpqvp5ITVjkhVH/2c354fee0a314704c294713aac161ab8/Journal_-_A_design_lover_s_guide_to_Milan_-_Body_Image_9.jpg)

Dive into Milan's thriving art scene and uncover the treasures of the Rovati Foundation on Corso Venezia.

>The Mudec Museum of Cultures of Milan

![Journal - A design lover’s guide to Milan - Collage 9](//images.ctfassets.net/x6xe625x10yr/7AwQIms7TP2mddIx1EJ7q6/1f9f498bd91e0da6daccd9c236b8736d/Journal_-_A_design_lover_s_guide_to_Milan_-_Collage_9.jpg)

The Mudec Museum of Cultures of Milan is dedicated to the interdisciplinary research on the world cultures - often hosting sell-out exhibitions but worth a visit just for its striking modern architecture.

>Open Care

![Journal - A design lover’s guide to Milan - Collage 10](//images.ctfassets.net/x6xe625x10yr/rTLaKApnbHInEj1b6AzWu/30fa9535835bd164bf26a99ea0e4173f/Journal_-_A_design_lover_s_guide_to_Milan_-_Collage_10.jpg)

Open Care is an extraordinary Italian institution dedicated to the care and preservation of precious artifacts and art, and its headquarters, in the historic Frigoriferi Milanesi complex, are well worth a visit for their cultural events, exhibitions, presentations, shows, screenings and concerts.
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[Explore Marta Sala Éditions](https://www.curio.space/m/marta-sala-editions)

Marta Sala’s Milan - a design lover’s guide 

Journal - A design lover’s guide to Paris - Blog Listing Thumbnail

Journal - A design lover’s guide to Paris - Hero Mobile

![Journal - A design lover’s guide to Paris - Body Image 4](//images.ctfassets.net/x6xe625x10yr/1UilA09DGMX9QKsgr9TvtF/200a73d44d80ddb28066994e8651084f/Journal_-_A_design_lover_s_guide_to_Paris_-_Body_Image_4.jpg)
For Kira, light emerges as a transformative force

>Born and raised in Paris, Kira’s founder and lighting designer, Roman Akira Frankel uncovers how the city’s mesmerising architecture continually serves as inspiration for Kira’s soulful designs. Here, we dive into the studio’s beginnings and reveal Roman’s treasured Parisian pockets for your next visit… 

The Paris-based lighting studio surpasses ordinary lighting trends with timeless pieces, defined by glossy ceramic bases, eggshell linen shades and playful silhouettes.

‘I was born in and have lived in Paris for most of my life. It’s one of the most beautiful cities in the world. Every district has its riches, every building or street has its own intricate details which can be an immense source of inspiration. It's essential to create an object that makes sense and is part of a coherent personal creative process.’

Drawing from the curves, textures and lacquered finishes of Japanese design influences, Kira is the home of high-end lamps. Yet Roman explains ‘that does not necessarily imply ostentation’.  ‘Something very refined can be expressed through a pure line, a deep colour, or precisely diffused light’, he says. ‘It is through this balance that the object makes sense and elicits an emotion.’

![Journal - A design lover’s guide to Paris - Collage 5](//images.ctfassets.net/x6xe625x10yr/7c8f8HXRgqwY1lzhoXTUoj/7c90d73764dedbfdcb70e53f59fa40aa/Journal_-_A_design_lover_s_guide_to_Paris_-_Collage_5.jpg)

Toshiro and Yoshiko Table Lamps by Kira.

‘The history of Paris and France in general is punctuated by evolving architectural and aesthetic styles. All this richness is part of my spectrum, and allows me to crystallise the very essence of my sensibility in my creations.’ 

>Bois de Boulogne lake

Stroll around the Bois de Boulogne lake. A tranquil spot separated from the city and surrounded by nature – perfect for a breath of fresh air.

>Le Comptoir

Fill up on flan at the 6th arrondissement and lunch on the terrace at Yves Camdeborde's restaurant, Le Comptoir.

9 carrefour de l'odeon 75006 

>Hotel Saint James

![Journal - A design lover’s guide to Paris - Body Image 5](//images.ctfassets.net/x6xe625x10yr/50U66c6zSrlh8wZXR25s1k/eac68b560ac04af4a369682c7436bba3/Journal_-_A_design_lover_s_guide_to_Paris_-_Body_Image_5.jpg)
Hotel Saint James  ©Saint James Paris

Decorated by Laura Gonzalez, afternoon tea at Hotel Saint James is a must. Hunker down in the historic library in winter or soak up the sunshine in the private garden during summer months. A win win all year round. 

5 place du chancelier adenauer 75116

![Journal - A design lover’s guide to Paris - Body Image 6](//images.ctfassets.net/x6xe625x10yr/4QDbqoUMciheGB9K5Lba4u/7ac22bfad674bf45be6c0b49aabf96ab/Journal_-_A_design_lover_s_guide_to_Paris_-_Body_Image_6.jpg)
Hotel Saint James Garden  ©Saint James Paris

>Takara Restaurant

Tuck into some Japanese delicacies at Takara. A nostalgic restaurant with dishes that transport Roman back to his grandma’s kitchen. 

14 rue molière 75002.

>Soces Restaurant

Top off the day with a seafood feast at Soces restaurant – not only famed for its food, but a spectacular reimagined Haussmannian interior.

32 rue de la villette 75019

![Journal - A design lover’s guide to Paris - Collage 6](//images.ctfassets.net/x6xe625x10yr/33Qgmp2j11TdCQtGBONOvx/e92c534e2d1002080016f869634806e3/Journal_-_A_design_lover_s_guide_to_Paris_-_Collage_6.jpg)

[Explore Kira’s collection
](https://www.curio.space/m/kira)

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Journal - Le Berre Vevaud - Hero Mobile

>The interior architecture duo talks responsible design, the power of collaboration and more. 

Tapping into a myriad of design movements, from the timeless sophistication of Art Deco, the avant-garde spirit of Bauhaus, and the poetic nuances of the Memphis era, Le Berre Vevaud favours organic, sensual forms, simple tailor-made shapes, and the boundless interplay of materials and colours. 

We caught up with founders, Raphaël Le Berre and Thomas Vevaud to uncover the brand’s beginnings as an architecture studio, the driving force behind their own furniture line, and the crucial role that sustainability plays in the duo’s impactful designs. 

[SHOP LE BERRE VEVAUD](https://www.curio.space/m/le-berre-vevaud)

![Journal - Design Diaries Le Berre Vevaud - Body Image 17](//images.ctfassets.net/x6xe625x10yr/2fZPVLbncreva9h3FjSlXs/c6225354116e3f90eb09add2b5071b45/Journal_-_Design_Diaries__Le_Berre_Vevaud_-_Body_Image_17.jpg)

__*Can you tell us a bit more about the brand, and both your journeys into the design industry*?__

Le Berre Vevaud, stemmed from our mutual love for design and architecture. It all began during our studies when we discovered our shared passion for crafting spaces that blend functionality with aesthetics.

After exploring various professional paths, we decided to combine our talents and establish our own design agency. Our goal was to combine our diverse experiences and identities, forming a distinctive design universe in Paris.

Failing to find what we envisioned, we took matters into our own hands, creating furniture that seamlessly integrates with our projects. This initiative led to the birth of our own line and the opening of our gallery in Paris's Carré Rive Gauche.

*__How do you approach your design process, and are there any particular themes or inspirations that consistently influence your work?__*

Our design process is driven by a constant quest for innovation while respecting traditional craftsmanship. We don't impose a fixed vision; rather, we strive to understand each project's context deeply.

Our style intertwines precision and creativity, enhanced by splashes of colour and distinctive geometries. We draw inspiration from a multitude of sources, including architects and designers of the 1940s, modernism, and contemporary creators like Ado Chale, Achille Castiglioni, and Eero Saarinen.

![Journal - Design Diaries Le Berre Vevaud - Collage 11](//images.ctfassets.net/x6xe625x10yr/1rqZzNokSZ31ZkHHgrpEue/8e79a12f037604342128a9a8c9f6613f/Journal_-_Design_Diaries__Le_Berre_Vevaud_-_Collage_11.jpg)

*__As designers, sustainability and ethical practices are increasingly important. How do you incorporate these principles into your design process and business practices?__*

At Le Berre Vevaud, quality in craftsmanship and materials is paramount. We prioritise sustainability and ethical practices by focusing on producing locally, thereby reducing environmental impact, supporting French artisans, and ensuring high-quality production that results in pieces that withstand the test of time.

Our collaboration is exclusively with artisans who possess exceptional artisanal and industrial expertise recognised by the national EPV label. This ensures that every piece we create is crafted with precision and care, meeting the highest standards of quality and sustainability.

When it comes to materials, we are meticulous in our selection process. For instance, we often use Carrara Marble sourced from Blanc Carrare, France, renowned for its durability and timeless appeal. By using materials of such high quality, we not only guarantee longevity but also minimise the need for replacements, thus reducing waste and environmental impact.

Our production is primarily based on a made-to-order model to avoid overproduction and unnecessary waste. It allows our artisans to focus on each piece individually, ensuring that every item we create meets our exacting standards. By incorporating these practices into our design process and business model, we are committed to not only creating beautiful and enduring pieces but also minimising our environmental footprint and contributing positively to the communities and artisans we work with.

![Journal - Design Diaries Le Berre Vevaud - Collage 14](//images.ctfassets.net/x6xe625x10yr/163DMn8GNP4akXh7BszJkz/6d3b739db5e607a4fe24c6e02f80fd7f/Journal_-_Design_Diaries__Le_Berre_Vevaud_-_Collage_14.jpg)

*__Collaboration often plays a significant role in design projects. Can you discuss any memorable collaborations you've been a part of and the impact they've had on your work?__*

We continuously collaborate with our artisans as they reinforce our commitment to traditional craftsmanship and elevate the quality of our creations. 

Collaborations not only expand our creative horizons but also enrich our projects with diverse perspectives and expertise. Each collaboration leaves a lasting impact, shaping our work and driving us towards continuous innovation. Some notable mentions include Dior. 

Want to discover more from Le Berre Vevaud? 

[SHOP NOW ](https://www.curio.space/m/le-berre-vevaud)

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Journal - Nada Debs - Hero Mobile

>Beirut-based designer Nada Debs can often be found in Dubai – a city she loves for its energy and optimism. As we celebrate Curio’s launch in the Middle East, Nada gives us a whistlestop tour of her favourite design-led destinations across the emirate.

‘The cosmopolitan aspect of Dubai is so evident and it reminds me of how I was brought up in Japan, among so many nationalities and cultures,’ says Nada, whose work is informed by her experiences of living and travelling around the world. 

[![Nada Debs, Dubai - Body Image 3](//images.ctfassets.net/x6xe625x10yr/1f4e7lcvV9EuWRZAtX9Nyy/53b8aa71a2bd2c87aafe2ab2f3d695b9/Nada_Debs__Dubai_-_Body_Image_3.jpg)](https://www.curio.space/marquetry-drum-side-table-short/p/W23FNADS007-001)
Nada Debs creates contemporary products, furniture and interiors that celebrate Eastern craft and design. The Marquetry Drum tables shown here are made in Lebanon from the finest American walnut.

‘I like that people are excited to do new projects and be creative and I feel that this is where the opportunities lie,’ she continues. ‘The population is young and this brings a lot of hope in a world that is now facing a lot of difficulties. The openness of new ideas is something that pushes one’s creativity forward.’

In the past decade, Dubai has reinvented itself as an important design hub that serves as a gateway from the Middle East to the world. The city hosts an established art fair and an annual design week in its growing, purpose-built design district.  In recent years, Nada has set up a home and studio in the city that she runs in addition to her flagship showroom and studio in Beirut, Lebanon.

![Nada Debs, Dubai - Body Image 6](//images.ctfassets.net/x6xe625x10yr/7iPFSseepZQd0eNqXIliLS/1d7b3968ef36cd90f67565a3d1baa076/Nada_Debs__Dubai_-_Body_Image_6.jpg)
Nada Debs’ showroom and studio in Beirut, Lebanon.

‘There is still room [in Dubai] to educate people about the value of craft and how it defines culture and identity; [to show] that crafted objects stand the test of time and go up in value, not only financially but emotionally as well,’ Nada explains. ‘People [in Dubai] are willing to see and touch and feel and understand and appreciate.’
>The Shop

![Nada Debs, Dubai - Body Image 7](//images.ctfassets.net/x6xe625x10yr/6GBGy5xx56w6K12WBmMXYk/3d81591f24c4ab6bf7d938e585c94a9a/Nada_Debs__Dubai_-_Body_Image_7.jpg)

Comptoir 102: a macrobiotic restaurant and cool concept store that carries furniture, accessories and jewellery. Founded and run by two French women, this place has a relaxed, Bohemian edge.

102 Beach Rd, Jumeirah, Jumeirah 1, Dubai 

[comptoir102.com](https://comptoir102.com/)
>The Brand

![Nada Debs, Dubai - Body Image 8](//images.ctfassets.net/x6xe625x10yr/19oSfIqxWyaje9zh4aPTkS/e7986b3644844496f75ea49f70391e6a/Nada_Debs__Dubai_-_Body_Image_8.jpg)

Montroi: for those that love to travel, this is a beautiful scent and accessories brand that celebrates the nomadic lifestyle.

Dubai Design District, Building 3, Dubai

[montroi.com](https://www.montroi.com/)

>The Gallery

![Nada Debs, Dubai - Body Image 9](//images.ctfassets.net/x6xe625x10yr/4n4syk7h2G8eeFtCLh9NQj/98d5e9a00090a0f7b92322fcf5c8dfe1/Nada_Debs__Dubai_-_Body_Image_9.jpg)

Alserkal Avenue: a place and a community where art galleries gather together mixed with restaurants, ceramics workshops and spaces for wellbeing.

17th St, Al Quoz,  Al Quoz Industrial Area 1, Dubai

[alserkal.online](https://alserkal.online/)

>The Cafe

![Nada Debs, Dubai - Body Image 10](//images.ctfassets.net/x6xe625x10yr/zyOoGo2xskeWyrcygn6JR/1f657561129050e87ff622542af968a9/Nada_Debs__Dubai_-_Body_Image_10.jpg)

Cafe Otaku: based in the city’s Design District, this Japanese-style cafe has a minimalist interior by local practice Veena Siddharth Design Studio.

Dubai Design District, Dubai 

[instagram.com/otaku.dubai](https://www.instagram.com/otaku.dubai/)

>The Restaurant

![Nada Debs, Dubai - Body Image 11](//images.ctfassets.net/x6xe625x10yr/4Jg82YJVMeei5akChyQCrZ/7d2056f3cfb868e314de4aeae7e22e54/Nada_Debs__Dubai_-_Body_Image_11.jpg)

The Grey: a sleek restaurant/cafe with a minimalist aesthetic. ​​

9 A St, Al Wasl, Al Safa 1, Dubai

[the-grey.co](https://www.the-grey.co/)

>The Hotel

![Nada Debs, Dubai - Body Image 12](//images.ctfassets.net/x6xe625x10yr/1ff4B160YbVePvKAzx8lHr/521c2bf24114db9392a53bfda8247221/Nada_Debs__Dubai_-_Body_Image_12.jpg)

Edition Hotel: a luxury hotel that is unintimidating and elegant in design.

Dubai Fountain St, Downtown Dubai, Dubai

[www.editionhotels.com/dubai](https://www.editionhotels.com/dubai/)

>The Studios

![Nada Debs, Dubai - Body Image 13](//images.ctfassets.net/x6xe625x10yr/2RMcXwu6o3kfoG7JbDU4hK/48bfa9b1d82eeca8f7f17142d28fb8e1/Nada_Debs__Dubai_-_Body_Image_13.jpg)

Tashkeel: a nurturing art facility that supports the growth of contemporary art and design practices in the UAE.

Tashkeel, Nad Al Sheba 1, Dubai

[tashkeel.org](https://tashkeel.org/)

[Explore Nada Debs's Work
](https://www.curio.space/m/nada-debs)


Nada gives us a whistlestop tour of her favourite design destinations.

PLP desktop-Lena Cottray

Lena Cottray has curated her very own edit on site.

Better than Sustainable - Blog Listing Thumbnail

Journal - Better than Sustainable - Hero Mobile apr

>Science meets storytelling when it comes to the hotel interiors of the future, says Juliet Kinsman. We want hotels that don't just surprise and delight  through their appearance, but also through their backstories — from biophilia to brocantes and Brutalism to botany. As consumers, we should assess their environmental impact and question whether responsible design choices are being  implemented.

Roughly-hewn timber tables. Reclaimed, upcycled retro tiling. Fraying hessian-toned curtains. Hand-pressed bricks glued to conceal concrete foundations. All noble, but they can be tokenistic if the context doesn’t consider the bigger picture. There was a time where real estate could get away with virtue signalling through greener details despite a small carbon footprint, by ticking enough ‘performative sustainability’ boxes. 

![Journal - Better than Sustainable - Body Image 1](//images.ctfassets.net/x6xe625x10yr/1RkXG3I7cjGBoBAWNitrYI/c859d3fd896cf8f544607cdab37fb277/Journal_-_Better_than_Sustainable_-_Body_Image_1.jpg)

Intercontinental Khao Yai National Park, Thailand

Now, as architects, designers, and consumers evolve their vision and embrace climate solutions, we not only calculate reduced impact but also demand genuine, regenerative interior approaches.

Sustainability has become a catch-all term — and sustaining the status quo isn't enough. With the built environment contributing 38% of global-warming emissions, we must actively reduce, not just slow down. Rising climate awareness, propelled by extreme weather, has led to scrutiny of supply chains and a quest for shorter, eco-friendly, artisan-led chains with a focus on nature. 

>Playa Viva Hotel, Mexico: The eco resort referencing biophilic design

Biophilia, inspired by EO Wilson's theory on our innate connection to nature, influences Louis Thompson, Nomadic Resorts Designer. His hand-built hospitality structures include the treetop dining pods at Soneva Kiri, inspired by the natural growth of saprophytic fungi, while magnificent marine creatures and mobula rays, influenced the design of the bamboo treehouses at Playa Viva. Thompson stresses that early consideration of passive design, insulation, material choice, and eco-conscious factors is crucial for achieving an integrated, holistic environment.

![Journal - Better than Sustainable - Body Image 2](//images.ctfassets.net/x6xe625x10yr/5UJCiYMTbj0EqqeZBojwLr/0dc520eac4ed0a81082082032e08dacd/Journal_-_Better_than_Sustainable_-_Body_Image_2.jpg)

Playa Viva hotel, Mexico.

Timber creations, neuroscientists might say, are better for our mental health, since wood speaks to the vagus nerve which soothes our parasympathetic system and snaps us out of fight or flight mode. The Black & White building in London, as the city's first all-timber space, sets a new standard. Daytrip Studio also sourced 80% of the furniture and lighting from London and UK suppliers — no easy feat, as most suppliers import from Europe or Asia.

>Fogo Island Inn, Central Newfoundland: The first human-first hospitality business in Canada

Fogo Island Inn, a Canadian hospitality business, showcases the importance of ethically-minded economics and aesthetics. Founded by Zita Cobb in 2013 on a remote Newfoundland island, the business revitalised what was once a fishing-dependent community. Former boat builders became award-winning furniture makers, and net-makers learned new craft techniques. Nothing was imported for the project, apart from a few nails, leaving as much money in local pockets as possible. Their Economic Nutrition Certification Mark provides transparency about money distribution from each purchase, emphasising their investment in community and labour - in other words, its people. 

![Journal - Better than Sustainable - Body Image 3](//images.ctfassets.net/x6xe625x10yr/1cmCE2CVfKAVmaEwRX4kHo/1ae8642516fce3131a1da0e17332b4ea/Journal_-_Better_than_Sustainable_-_Body_Image_3.jpg)

Fogo Island Inn, Canada

>Hotel Marcel, Connecticut: Future-proofing an architectural gem

Adaptive design is another regenerator. In New Haven, Connecticut, Hotel Marcel breathes new life into the Marcel Breuer Building. This 1970 Brutalist icon, designed by the Bauhaus legend, is now a 165-room Passive House-certified hotel. It sets a new standard for energy efficiency and insulation, mitigating carbon emissions. Repurposing existing structures helps reduce the environmental impact of concrete which is responsible for 8% of global CO2 emissions. Hotel Marcel features mid-century-inspired furnishings by Dutch East Design and artworks by female Brooklyn artists, honouring the Bauhaus spirit of reinvention.

>1 Hotel, Mayfair: Living green wall boosts biodiversity

1 Hotel Mayfair is a BREEAM-certified 181-room hotel that has reinvented a Portland-stone-clad building using photovoltaic panels and blue roof water-capturing processes. Its living green walls and over 200 plant species render this property one of the greenest reuse developments in W1. From the air-plant chandelier in the lobby to in-room planting beds and a public side-garden, the hotel enhances biodiversity and provides habitats for small nesting birds - there are climate-control benefits, too. The foliage has sun-absorbing properties which helps to cool the building, resulting in an average temperature reduction of 3°C. Meanwhile, 1 Hotel Brooklyn in New York creatively utilises organic materials like mushroom mycelium and hemp to enhance urban design.

>Hôtel Juana, Côte d’Azur: Upcycling the interiors of hotel restaurant, PASEO

In a world increasingly focused on environmental issues, it's essential to consider the broader picture, including how interior design can adapt to a more fragile planet. Reducing resource extraction is essential, including reducing fossil fuel usage and avoiding the purchase of new materials. 

Hôtel Juana, a sibling to the renowned Belles Rives, exemplifies creative upcycling in its charming PASEO restaurant on the Côte d’Azur. The hotel, now independently owned by a French family, enlisted a Belgium-based interior design duo to reimagine the space. They incorporated vintage finds, handcrafted Barbotine ceramics, and reupholstered furnishings, emphasising the principles of reduction and reuse. ‘The furniture had all been professionally commissioned before, so it made no sense to order new from the other side of the world, and we aimed to reuse what’s been here for 20 years, built to last,’ says Samantha Messens. ‘Recycled plastic tables were bold and brave for a five-star hotel on the French Riviera.' 

![Journal - Better than Sustainable - Body Image 4](//images.ctfassets.net/x6xe625x10yr/xqEw2ZhLvMgNMQv81AHf3/eb29f654d21cf0cf28bcbc1015ec654c/Journal_-_Better_than_Sustainable_-_Body_Image_4.jpg)

Hôtel Juana, Côte d’Azur: PASEO Restaurant

>Inhabit Hotel, Queen’s Gardens: Repurposing materials 

Editor of Hotel Designs, Hamish Kilburn, asks how can an industry, driven by profit, continue to grow aggressively and claim to be sustainable? ‘It can’t.’ He advocates a shift to design value, and conscious, hyperlocal procurement. Richard Holland of Holland Harvey Architects earns Kilburn's admiration for an innovative transformation of a curved terraced building in Bayswater, into Inhabit, Queen's Gardens. The architects collaborated with Liverpool's Granby Workshop to repurpose materials from 19th-century Victorian townhouses, resulting in a 159-key boutique hotel with a strong focus on well-being. By opening the door to genuine collaboration between artisans, creatives and industry experts, hotels are adding texture, locality and multiple layers of narrative to the hospitality experience, which will stand the test of time, as well as shifting trends. It is now resonating with decision-makers at the top level, fostering a more environmentally and socially conscious industry.

![Journal - Better than Sustainable - Body Image 5](//images.ctfassets.net/x6xe625x10yr/3dxVdH3qddwNy1Lcqj0oo7/0a4e4ccb2cd5feabfa6273da3a4a10a7/Journal_-_Better_than_Sustainable_-_Body_Image_5__1_.jpg)

Inhabit hotel exterior

Humankind has a chance to problem-solve through every step of the design journey, and all the better when those who encounter these environments end up expressing themselves more imaginatively while also demonstrating impact. When Bill Bensley published his Sensible Sustainable Solutions white paper in 2020, the Bangkok-based designer raised the bar. Known for his flea-market treasures and commissioning hand-made fittings, such as for Capella Ubud in Bali, or Shinta Mani Wild in the Cambodian rainforest, which might take craftspeople months to create, Bill shows us how a little imagination can be the best climate activism. Bringing his high-camp style to life most recently in the Republic of Congo, his latest project, Kamba African Rainforest Experiences reminds us why discerning travellers favour this approach to arts and curios over could-be-anywhere-amenities. The sustainability significance of these high-design immersive wilderness gorilla-viewing escapes is significant too — they will lure luxury travellers to a barely-visited region in a way that benefits local communities, and funds conservation, without scrimping on theatre. 

>One Hundred Shoreditch: Upcycling and repurposing materials 

![Journal - Better than Sustainable - Body Image 6](//images.ctfassets.net/x6xe625x10yr/7goFMpwwpTaD44iI2xoppw/05eac601c69aba8d2104a7e25d5cc283/Journal_-_Better_than_Sustainable_-_Body_Image_6.jpg)

One Hundred Shoreditch

‘Design is really an act of communication, which means having a deep understanding of the person with whom the designer is communicating,’ said Donald A Norman in The Design of Everyday Things. Jacu Strauss, creative director of hospitality company Lore Group, highlights that sustainability has become a bigger requirement from a guest perspective, ‘Greenwashing, as a term, reflects a short-term vision and box-ticking approach which is not doing enough to make a significant shift.’ Strauss and his team create bespoke furniture and fixtures, and equipment for each property. When re-imagining the Pulitzer Amsterdam and Riggs Washington DC, Strauss based himself in these destinations to really get under their skin. ‘True sustainability is about the longevity of design, materials, and reuse. It is important to use sustainable products, but they are not always necessarily ‘green’ or made from natural resources, instead they are often materials that last longer and may even be a by-product. Having a long-term vision fuels a creative mind because less focus is placed on fast-fashion trends, instead it makes for future-friendly design that is right for that particular context.’ Jan Hendzel's examples include the use of naturally felled London trees for sculptures and benches at One Hundred Shoreditch Hotel and repurposing old bicycles for decoration at the Pulitzer.

>Khao Yai National Park Hotel, Thailand: Luxury suites crafted from abandoned train carriages.

![Journal - Better than Sustainable - Body Image 7](//images.ctfassets.net/x6xe625x10yr/12qJPeptgjsUB9f4jSUFpQ/6ae65b02c2f22fc613b37bc23a1db278/Journal_-_Better_than_Sustainable_-_Body_Image_7.jpg)

Intercontinental Khao Yai National Park, Thailand

Nothing generates excitement quite like the ingenious repurposing of items at the end of their life cycle. Bill Bensley transformed discarded train carriages into opulent suites at Thailand's InterContinental Khao Yai National Park, while OMA, led by Rem Koolhaas, crafted ceilings from 1.7 tonnes of recycled plastic waste at Potato Head Studios in Bali.

The most impactful contribution we can make is to ask more questions about the creative process behind these unique interiors and share these insights for better design, construction, and creation. To identify worthy projects, consider how an interior design benefits nature or people, raises awareness about zero waste, or supports fading artisanal skills. Seek out the positives and celebrate them loudly. Hotels filled with mass-produced, shipping container-style furnishings no longer cut it. Stay curious.

[Explore our responsible edit](https://www.curio.space/c/changemakers)


What can the hospitality industry teach us about design and craft?

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Journal - Goldfinger - Hero Mobile

## ‘Our goal is to make sustainable design a common practice in the UK,’ states Carl Blücher, Head of Creative and Product at London-based furniture brand and social enterprise Goldfinger. 

Standing in the company's West London workshop below its office in the iconic Trellick Tower, Blücher is surrounded by salvaged wood, machinery and a handful of skilled workers, who are putting the finishing touches to some large communal tables commissioned by Thomas Heatherwick. The pieces, which are destined for Heatherwick's new headquarters in Kings Cross, are being made using wood donated by TATE. Instead of discarding valuable material, knots in the wood are carefully filled with resin and assembled into seven-metre-long tables. 

This resourceful approach is part of what makes Goldfinger unique in the design industry. Founded in 2013 by Marie Cudennec Carlisle and Oliver Waddington-Ball in London's iconic Trellick Tower (the business was named after the Brutalist building's architect, Ernö Goldfinger), the organisation was set up to create beautifully crafted objects while supporting the local economy in Golborne Ward, one of the city’s most deprived neighbourhoods.

![Goldfinger - Body Image 1](//images.ctfassets.net/x6xe625x10yr/2wERIApiYpe4teRXa0SF66/c941a631d0cc2a90871138fe55988110/Goldfinger_-_Body_Image_1__1_.jpg)
## Marie Cudennec, Goldfinger CEO and co-founder

After experimenting with different materials, the company opted to focus on wood, which it sources locally using environmentally friendly methods. Dubbed ‘Treecycling’, this modus operandi has become a trademark of the brand. “Did you know that 5000 trees fall every year in London alone, and that most of them are burned for biofuel?” muses Blücher. Every day, trees get diseases, are uprooted by storms or are removed due to urban development. Goldfinger works with local authorities, associations, businesses and private landowners so they get notified when new material becomes available. It created an entire collection for Selfridges sourcing wood that would have otherwise been discarded, marking each piece with the coordinates of the birthplace of the raw material to emphasise its history and provenance. 

In 2018, Harvey Nichols donated the trees from its Christmas windows, which were used to update parts of Goldfinger’s offices, while the Design Museum’s floorboards were turned into Peshawar side tables. 

![Goldfinger - Body Image 14-1](//images.ctfassets.net/x6xe625x10yr/30NxWJT8uqGbQKYfvqGiL/96e0bf6a81cb926537257006cbb6945e/Goldfinger_-_Body_Image_14-1__1_.jpg)

Not only is Goldfinger committed to treading lightly on the planet, but it also gives back to its local community, providing traineeships, craft workshops and school programmes created in partnership with Hermès. The Goldfinger Academy was founded to support marginalised young people, by teaching them the art of woodworking through an apprenticeship programme. Low-income workers can also learn valuable skills to up their employability, as well as a sense of self-worth. ‘We want to grow our business while giving back to the people around us, and education can play a major role in uplifting the economy of an entire neighbourhood,’ explains Blücher.

![Goldfinger - Body Image 16](//images.ctfassets.net/x6xe625x10yr/14xDbwBSGNZFgM0dbaSehv/a136f34ca396a0623765085d7188f4a4/Goldfinger_-_Body_Image_16__1_.jpg)

In 2015, Goldfinger also started offering free monthly meals to North Kensington residents, “no questions asked”, using dishes cooked from surplus ingredients. During the pandemic, they quickly transformed the venture to provide hand-delivered meals - and a much-needed human presence - to vulnerable and isolated locals. 

While Goldfinger is constantly looking to maximise its social impact and minimise its carbon footprint, its furniture is designed to be admired for its aesthetic and stylistic qualities, rather than its sustainability credentials. ‘We want to make timeless pieces, not shabby chic furniture bragging about the way it was made,’ concludes Blücher. ‘Sustainability should not be a trend, but an inherent component of how we think about design.’

![Goldfinger - Body Image 19](//images.ctfassets.net/x6xe625x10yr/6Y6YutKrrvdMOB3uIyLciF/0679713d0ea12540694594dab02e0181/Goldfinger_-_Body_Image_19__1_.jpg)

With craft and community at the forefront of our business, Curio continues to seek out and celebrate makers such as Goldfinger whose products are beautiful, functional and responsible in equal measure. Learn more about Goldfinger alongside other brands that are using craft to bring about positive change at curio.space

[Explore Goldfinger's Work](https://www.curio.space/m/goldfinger)


How Goldfinger is reshaping the way we think about design

Journal - Conscious craft - Blog Listing Thumbnail Tarun

Journal - Tarun - Hero Mobile

>A revered figure in Indian fashion, Tarun Tahiliani’s studio is renowned for its exquisitely detailed collections that blend traditional Indian textile work with meticulous modern tailoring. In recent years, the designer has introduced his captivating work to a new audience through design and architecture projects as well as the launch of an interiors textile division, encompassing wall art and beyond. Design writer Pooja Khanna Tyagi chronicles his career to date exploring his inspirations along the way.

With a design philosophy firmly rooted in India's rich craft heritage, Tahiliani draws inspiration from indigenous materials and ancient Indian craftsmanship to create his "India Modern" collections. ‘At our core, we are committed to uplifting traditional techniques, seamlessly weaving them into our fabrics and heritage collections,’ he explains. These techniques include Chikankari, a traditional embroidery style that seeks inspiration from the Mughals; Benares Brocades, a type of finely woven silk decorated with intricate designs; and Pichwai, an ancient style of art from Rajasthan that was used to create lyrical paintings for temples. ‘I learnt more about India through design,’ he says, ‘because it was the first real Indian language I was trained in – taught by the craftsmen who practised it.’

![Journal - Conscious craft - Collage 3](//images.ctfassets.net/x6xe625x10yr/6y2r5VPIHb9wMieK4lEoHJ/1924fd2becb19eb4757234cfe9934604/Journal_-_Conscious_craft_-_Collage_3.jpg)

The son of an admiral in the Indian Navy and the first woman engineer in Maharashtra, Tahiliani's career in fashion began on his graduation from the prestigious Wharton Business School at the University of Pennsylvania. Recognising the potential in India's evolving clothing and couture industry, he opened the country's first multi-designer boutique, Ensemble, in 1987. Later, in 1991, he decided to refine his design skills further and earned an associate degree from the Fashion Institute of Technology, New York.

In 1995, he moved from Bombay to Delhi and founded his eponymous studio, settling into an ‘urban village’ in Chirag Dilli, with a design team of six tailors and four other members. Delhi’s close proximity to India’s “crafts belt” in Lucknow, Bareilly, and Jaipur granted the studio easy access to a variety of artisans and a plethora of fabrics. While Bombay was an important starting point in his journey as a designer, Tahiliani says that in Delhi he found the ‘real India’, which fuelled his creativity and shaped his design language.

As the studio grew, Tahiliani shifted operations to a more expansive space in Mehrauli. During this time he evolved his style, which continued to reflect a particular ‘Indianness’ but his structured designs began to break away from tradition.

By blending the virtuosity of Indian craftsmanship with Italian pattern cutting, construction, and state-of-the-art digital textile printing, he developed a distinctive style that fuses contemporary silhouettes with historical opulence. The studio gained notoriety for the intricate textile work and meticulous tailoring of its couture, diffusion, and prêt-a-porter lines. 

Among the designer’s numerous accolades is the prestigious Moët & Chandon Fashion Tribute Award for Designer of the Year for India, which he received in 2004. 

![Journal - Conscious craft - Body Image 15](//images.ctfassets.net/x6xe625x10yr/wnQsq5Ycenksm4ztqwh5M/d6a02ca36de19e5f07db822edbf953e7/Journal_-_Conscious_craft_-_Body_Image_15.jpg)

Today, an impressive 45000-sq-ft headquarters nestled deep inside Gurugram, Haryana, serves as the base of all Tahiliani’s operations. Within the imposing red brick building, his trusted team of more than one thousand designers, master craftsmen, tailors, drapers, and seamstresses bring his collections to life.

Of late, his design expertise has expanded into architecture and interior design with the birth of Tahiliani Homes. Based in New Delhi and run by Tahiliani together with his son, Jahan, and interior designer Bindu Vadera, the studio has completed numerous boutique hotels and residences in Goa, India, that translate the refined luxury of Tahiliani’s fashion collections into physical spaces. 

During the pandemic, Tahiliani cemented his move into interiors with the launch of his studio’s interior textiles division. ’As people focused their finances on improving their homes, bespoke interiors thrived, while clothing and fashion took a temporary backseat,’ he says, reflecting on the canny business move that saw him put his master craftsmen's embroidery skills to use in the creation of bespoke tapestries.

![Journal - Conscious craft - Collage 4](//images.ctfassets.net/x6xe625x10yr/6EYtLuRmmd24M8WQ9Y6Vj1/b50f796dcd04e246d1e06d0e13b5e50d/Journal_-_Conscious_craft_-_Collage_4.jpg)

The designs draw inspiration from Pichwai, one of India's oldest art forms that originated 400 years ago in Nathdwara, Rajasthan. ‘The embroidered Pichwai wall art allows us and our craftsmen to freely express ourselves without merchandising constraints,’ explains Tahiliani. ‘Our version draws heavily from the Lace Pichwais of early 1900s England, depicting tone-on-tone embroidered landscapes and forests with no religious elements while using indigenous stitchery from Indian embroidery traditions.’

Look closely at the tapestries and you’ll see details such as Tahiliani's signature painted lady on a boat or hand-carved mother-of-pearl flowers, all meticulously hand embroidered. As a designer, Tahiliani prefers understated colours like beige and ecru and appreciates the muted tones achieved through the process of tea dipping. Bright and bold hues are featured but only sparingly, he says, to avoid the distraction of too many colours or textures.

[![Journal - Conscious craft - Collage 5](//images.ctfassets.net/x6xe625x10yr/2uSgxYcgIDXoedJrXZBImd/c0116086e1ac93f050f5bc6296d2da21/Journal_-_Conscious_craft_-_Collage_5.jpg)](https://www.curio.space/gokul-van-pichwai-tapestry/p/SSDTARI002-001)
[Gokul Van Pichwai Tapestry by Tarun Tahiliani](https://www.curio.space/gokul-van-pichwai-tapestry/p/SSDTARI002-001)

Looking forward, Tahiliani plans to expand his interior design offering further with embroidered wallpapers and bespoke wall art. His unwavering commitment to traditional craftsmanship coupled with his business-savvy approach has made him a global design powerhouse who continues to captivate fashion enthusiasts and art collectors alike.

Tarun Tahiliani has been in Curio’s stable of designers since our launch last year. We are delighted to carry two of his exclusive tapestries, which were a highlight of our inaugural exhibition, Hand in Hand, Making in the Modern Age. Intricately hand embroidered in India, these pieces reveal new details with each viewing and exemplify everything Curio stands for.

[Explore Tarun Tahiliani's Work](https://www.curio.space/m/tarun-tahiliani)


How Tarun Tahiliani is weaving a new narrative for Indian craft

Crafting a better future - Blog Listing Thumbnail

Journal - Crafting a better future - Hero Mobile

>As every interior design professional knows, the key to success in this sector is an ability to make good decisions. But before we get down to the details of colour palettes and finishes, there is one big question facing all of us: How can we balance our desire for creativity and the need to surround ourselves with beautiful things while also protecting the planet?

To help answer it, we commissioned a special report to help design professionals make sense of the often conflicting information out there. Environmental and social design writer Roddy Clarke’s Sustainable & Craftsmanship 2023 dossier examines how design professionals can ensure their designs tread as lightly as possible on the planet. The supporting stats exemplify how a rapidly growing number of consumers are rejecting mass-produced goods and favouring considered, handcrafted pieces with longer lifespans, low-impact production and high rental and resale value.

![Journal - Crafting a Better Future - Body Image 2](//images.ctfassets.net/x6xe625x10yr/6fTlfOnNvb9tBupcaZF4HT/944b810aa13558524daf9afa5b7014ba/Journal_-_Crafting_a_Better_Future__-_Body_Image_2.jpg)

### __Roddy Clarke’s Supporting Stats:__

A new generation of consumers – most notably Millennials and Gen Zs – are committed to a ‘buy less, buy better’ mentality. The Craft Council’s 2020 Market for Craft report stated that of the 73% of UK adults investing in craft during 2019, 32% of buyers were aged under 35.

The global market for second-hand furniture is expected to grow from $23.62 billion in 2019 to $44.76 billion in 2025, at a CAGR of 10.6%. (Source: Mordor Intelligence)

A report by McKinsey & company found that up to 80% of a product’s environmental impact is determined during the design phase, highlighting the importance of sustainable design practices.

10.3 million British consumers are now buying craft online (source: 2020 Market for Craft report), highlighting that artisanal excellence has never been easier to access.

The rise of TV shows such as the UK’s The Repair Shop (series 6 was watched by 6.7 million people) and Blown Away in the US demonstrate how consumers’ fascination lies not just in the aesthetic appeal of a one-off design but also in the craft processes involved in the creation of it. In an increasingly digital world, craft objects offer consumers a tangible connection to the maker and a more fulfilling buying experience.

A report by IBM found that in 2022, roughly 4 in 5 consumers say sustainability and health and wellness benefits are important to them when choosing a brand. The same report found that 62% of consumers are willing to change their shopping habits to reduce their environmental impact.

At Curio, our ethos is to make everything we own matter – to make it emotional, considered, and thoughtful. We offer an antidote to trends and throwaway culture, unearthing talented makers from around the globe, retelling unique brand stories, while honouring craft. By doing so, we hope to not only reframe the way people think about the objects they surround themselves with but also preserve age-old crafting techniques for future generations.

We champion the trailblazing organisations, individuals, and brands that are paving the way for a sustainable and greener future. Here, we highlight some Curio Makers who have found inventive ways to reduce, reuse and reimagine resources through their practice. 

[![Journal - Crafting a Better Future - Collage 3](//images.ctfassets.net/x6xe625x10yr/4YHjKd6fqIZZgPkb03dfYZ/833538f5081a4511e8e9e95104fa7ab7/Journal_-_Crafting_a_Better_Future__-_Collage_3.jpg)](https://www.curio.space/m/goldfinger)

[__Goldfinger__](https://www.curio.space/m/goldfinger)

Goldfinger is renowned for its resourceful approach and commitment to sustainability. The West London workshop, situated below the iconic Trellick Tower, is home to skilled workers who repurpose salvaged wood and machinery to create beautifully crafted objects while supporting the local community and economy in Golborne Ward, one of London’s most deprived neighbourhoods.

[![Journal - Crafting a Better Future - Body Image 4](//images.ctfassets.net/x6xe625x10yr/4xYNExpkqncHkaHZgGW6aU/16676c066812de345b0d3b359d3a1ae8/Journal_-_Crafting_a_Better_Future__-_Body_Image_4.jpg)](https://www.curio.space/m/nicola-cecutti)

[__Nicola Cecutti__](https://www.curio.space/m/nicola-cecutti)

Nicola Cecutti’s high-quality lighting designs are intended to be easily repairable and upgradeable, reducing waste, while promoting a circular economy in the process. Using recycled and sustainable materials wherever possible - including recycled aluminium and FSC-certified wood - Cecutti produces in small batches, repurposing offcuts and scrap materials to minimise waste. All his lighting products are manufactured in the UK.

[![Journal - Crafting a Better Future - Collage 5](//images.ctfassets.net/x6xe625x10yr/3itP3Hq5epexfHhSUAQaQb/8f2b65bb19492e356828107de6870fa5/Journal_-_Crafting_a_Better_Future__-_Collage_5.jpg)
](https://www.curio.space/m/lisa-marie-price)

[__Lisa-Marie Price__](https://www.curio.space/m/lisa-marie-price)

For Pembrokeshire-based artist, Lisa-Marie Price, sustainability and ethical production are at the forefront of her practice. Using natural and organic materials that have a low environmental impact, she often works with local farmers to source sheep’s wool, plant dyes, and other natural fibres. Price also uses solar panels to generate electricity and collects rainwater to dye her fibres.

[![Journal - Crafting a Better Future - Body Image 6](//images.ctfassets.net/x6xe625x10yr/60edR72G0fyLq3sM0l0N3L/af5d78637c82a50e183816df61a85308/Journal_-_Crafting_a_Better_Future__-_Body_Image_6.jpg)](https://www.curio.space/m/granite-and-smoke)

[__Granite and Smoke__](https://www.curio.space/m/granite-and-smoke)

Granite + Smoke’s materials are 100% natural, renewable, and biodegradable, including certified and ethically sourced lambswool and cashmere, which meet the highest standards of animal welfare, environmental care, and social sustainability. The brand also use recycled post-consumer textile waste from the fashion industry for yarns, reducing the use of precious raw materials and landfill waste.

__MORE RESPONSIBLE MAKERS__

– [Alex Mint](https://www.curio.space/maker-detail/alex-mint)\
– [Relay Design Projects](https://www.curio.space/maker-detail/relay-design-projects)\
– [Stone Stackers](https://www.curio.space/maker-detail/stone-stackers)\
– [Modet](https://www.curio.space/maker-detail/modet)\
– [Mediterranea Design](https://www.curio.space/maker-detail/mediterranea-design)\
– [Unit 89](https://www.curio.space/maker-detail/unit-89)

__*Think Global, Act Local*__

*Recognising the positive impact local sourcing has on the environment, we are showing our support with __free standard shipping for all UK orders__, shipped to UK addresses.*

[SHOP NOW](https://www.curio.space/c/changemakers)

Journal - Handcrafted hotels - Blog Listing Thumbnail-1

Journal - From the ground up - Hero Mobile apr

![Journal - From the ground up - Body Image 1 neww](//images.ctfassets.net/x6xe625x10yr/5C9IYaqVZo52woNyAIlfQ8/af2b2e473f014a402298822a793fe263/Journal_-_From_the_ground_up_-_Body_Image_1_neww.jpg)

>For our first exclusive rug collection produced by cc-tapis, Shalini Misra looked to the thousands of stepwells in India for inspiration. Referred to as a ‘Vav’ or, ‘Baoli’, the stepwells are a vital component of India’s architectural, cultural, and social history. 

__What are stepwells and what do they represent?__

Historically, stepwells were renowned as India’s most efficient water-harvesting systems, acting as reservoirs while also doubling up as unifying spiritual centres, social gathering spots and a place of refuge for ritual purification and prayer. For women in particular they were a safe haven, offering protection and shelter from the overpowering heat as they fetched water for the community.

Though stepwells are disappearing and deserted due to modernisation, governmental and heritage organisations are striving to conserve the architectural phenomenon – something that we at Curio are passionate about. 

![Journal - From the ground up - Collage 2](//images.ctfassets.net/x6xe625x10yr/5fn2MZ725COIa8m3stSNS2/3fb03c0107d72ef569cf6f9bbf40df8b/Journal_-_From_the_ground_up_-_Collage_2.jpg)

__Why did we choose cc-tapis to produce the limited-edition rugs?__

cc-tapis has a strong respect for natural materials, which is reflected in its eco-friendly approach to production. Each rug is made using the finest natural Himalayan wool and sourced from the surrounding areas of the studio’s atelier in Kathmandu, Nepal. No machines are used and everything is handmade by expert artisans following ancient traditional techniques.

Each rug passes through many hands. The raw materials are first carded and hand-spun by one team, dyed by a master colour expert, knotted by Tibetan artisans and finished by a team of expert craftspeople who shave, trim and bind the final piece.

cc-tapis also cares about its people, practices and impact on our world, undertaking a path of transversal reduction through its production and distribution processes, whilst paying attention to social, human, and economic factors. They also launched the non-profit organisation cc-for education which provides the children of Nepalese weavers private education. From launching plastic-free packaging using discarded clothing, to attaining carbon neutrality, cc-tapis offers much more than its soulful, high-end textiles.

[![Journal - From the ground up - Body Image 3](//images.ctfassets.net/x6xe625x10yr/6LMgDWOGSSQMgge0ONRQRm/b225543fd918b97aad5f669e7093aec7/Journal_-_From_the_ground_up_-_Body_Image_3.jpg)](https://www.curio.space/ujala-baoli-rug/p/W24SCCTS001-001)

[Ujala Baoli Rug By Shalini Misra Design](https://www.curio.space/ujala-baoli-rug/p/W24SCCTS001-001)

__How are the rugs made and how were the stepwells translated onto the materials?__

The complex and ancient production method of hand-knotting is favoured by the atelier - a common technique in the Middle East, India and China. Every stage of production is managed in-house, from refining raw materials to dying processes, enabling full control to create unique, bespoke pieces. Every Tibetan knot is handmade on a vertical loom holding a warp made of hundreds of stretched strands of cotton. A single rug can have up to 232.000 individual knots per square meter, indicative of the lengthy production time which ranges between 14 to 17 weeks depending on the quality and size. Once the knotting is complete, the rug undergoes extensive finishing processes including hand-cutting, shearing and embossing. The final piece is washed in recycled rainwater, stretched, and sun-dried in the Himalayan sun.

The images of Indian stepwells are translated onto the rugs by weaving exceptionally delicate gradients of hand-dyed Himalayan wool. To evoke a surreal and sculptural effect, cc-tapis’ Nepalese artisans integrate different pile heights, textures and an original combination of colours to define the varying levels of stepwells and elaborate carvings - thoughtful craftsmanship at its finest.

[![Journal - From the ground up - Collage 4](//images.ctfassets.net/x6xe625x10yr/52HwH3txnTkUYP3ztru0yO/ee554f940f99e16fc3401ed1f5ae091d/Journal_-_From_the_ground_up_-_Collage_4.jpg)](https://www.curio.space/m/shalini-misra-design)

[Rani ki Vav Runner](https://www.curio.space/rani-ki-vav-rug/p/W24SCCTS003-001) and [Adalaj ni Vav Round Rug By Shalini Misra Design
](https://www.curio.space/adalaj-ni-vav-rug/p/W24SCCTS002-001)

__What does this collection mean to Curio?__

Curio is rooted in community. We nurture, spotlight and celebrate under-represented talent all across the globe to bring to market out-of-the-ordinary artists and makers. Here, we want to celebrate the talented Nepalese artisans and tight-knit team who soulfully stitch each bespoke piece.     

Rugs, as functional and textural foundations, have a unifying power, serving to bring people together and act as grounding elements for both entertaining and everyday living. This draws parallels with the historical use of stepwells; the fundamental heart of community.

[Explore the collection](https://www.curio.space/m/shalini-misra-design)


Explore our exclusive rug collection, produced by cc-tapis.

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Journal - Handcrafted hotels - Hero Mobile

>As the craft resurgence picks up pace, hotel designers are increasingly commissioning makers to bring bespoke elements to their interiors. ‘A hotel is a gateway to a new city or region, and travellers are seeking distinct experiences,’ observes Ambrish Arora, principal at Studio Lotus. ‘Craft is one of the most evocative mediums for capturing the spirit of a place and can be a powerful storytelling device.’ 

For the New Delhi-based design practice, the process involves working in tandem with artisans to bring a contemporary dimension to their skills. ‘The idea is not to replicate crafts, but to reinterpret them in a way that remains in context, yet looks forward,’ says Arora. ‘We’re challenging them and ourselves to create pieces that are anything but traditional, but that can’t be achieved with mechanised processes. Our engagement with craft communities has greatly informed and enriched the way we design.’

At RAAS Chhatrasagar hotel, which the studio recently completed in the historic town of Nimaj in Rajasthan, guests sleep in tented pods featuring fabric made by printmaker Dhvani Behl’s studio Flora For Fauna and block-printed with designs celebrating local plants and wildlife. Doors are carved by artisans from Uttar Pradesh, while the bespoke Acacia wood consoles by furniture studio Mangrove Collective feature berries from native trees. Even the patterns of the hand-chiselled stone panels reference the local biodiversity.

![Journal - Handcrafted Hotels Imagery - Body Image 5](//images.ctfassets.net/x6xe625x10yr/4ANuZLDeAhCJMugysGVNjw/05f831eea7438a565fca40c309aacce9/Journal_-_Handcrafted_Hotels_Imagery_-_Body_Image_5.jpg)
## RAAS Hotel - Chhatrasagar

‘The motifs heighten guests’ connection with their surroundings, creating an experience that’s memorable and unique to the area,’ continues Arora, whose team has designed three other hotels for the RAAS group, each referencing their locales in Devigarh, Kangra and Jodhpur. ‘It also redefines luxury as something that’s made by investing care, skill and time.’ 

For multidisciplinary studio Autoban, designing hotels also begins with telling stories. ‘Through research rooted in history, we try to create spaces that are immersive, surprising and memorable. What makes them intriguing is when every element is infused with feeling – and that often comes from a human touch,’ says Seyhan Özdemir Sarper, co-founder and head of design at Autoban. ‘This is why craft and bespoke elements are so important – they’re what makes each corner unique. We want guests to discover a new detail each time they enter a space, and to feel the layers of narratives and their makers in every piece.’ 

When the Istanbul-based studio designed Joali, a forward-thinking luxury resort in the Maldives, they worked with Turkish art curators No LaB and a roster of global and local craftspeople to bring together one-of-a-kind art, surfaces, structures and custom furniture. Among these pieces are exquisitely carved bamboo sofas, benches and bedside tables, handsome Brancusi-inspired wooden columns and palm braiding on roofs and structures. South African studio (and Hermes collaborator) Ardmore made carved wood panels featuring lush Maldivian vegetation, while Brooklyn-based artist Doug Johnston created a series of light sculptures made from rope. Guests can enjoy dinner in a woven ‘Manta Ray’ hideaway suspended amid the trees by Porky Hefer – just one of the internationally renowned artists whose work can be found on the immersive art trail. 

![Journal - Handcrafted Hotels Imagery - Body Image 3](//images.ctfassets.net/x6xe625x10yr/5RYP9cB5D8rImzVcuJ2ZaN/e8d1628a1a7ac57510a75e32038e16c5/Journal_-_Handcrafted_Hotels_Imagery_-_Body_Image_3.jpg)
## Joali - Luxury Resort

Over in Botswana, visitors to Xigera lodge in the Okavango Delta will find themselves on a craft and design safari, as well as the animal kind. When South Africa curator Trevyn McGowan – the co-founder and CEO of Cape Town’s Southern Guild gallery – was approached by the founders of Xigera to curate artwork, the remit of the partnership soon expanded. ‘We became very involved in executing [design director] Toni Tollman’s vision about what Xigera could be,’ explains McGowan. Working with over 84 craftspeople, they amassed not only the largest collection of collectable African design in the world, but a full assemblage of bespoke bedding, tableware, furniture, objets, stationery and even books. ‘It goes beyond collectible design pieces, to nearly every single item you use or see, and almost everything has been made by hand in Africa,’ continues McGowan. ‘So many pairs of hands were involved and everything holds the vibration of the maker.’ 

![Journal - Handcrafted Hotels Imagery - Body Image 2 alternate-1](//images.ctfassets.net/x6xe625x10yr/5zWVGmPOV7qj9zYUxB3XOp/1baf63705d84da46e821ff7e7b757431/Journal_-_Handcrafted_Hotels_Imagery_-_Body_Image_2_alternate-1.jpg)
## Xigera lodge - Okavango

Key collaborators include Botswana-born furniture designer Peter Mabeo, who crafted contemporary timber pieces just a few hundred miles from the lodge, and blacksmith Conrad Hicks, whose powerful forged steel ‘Structure of Self’ sculpture houses an outdoor fire. Meanwhile, ceramicist Madoda Fani’s hand-coiled, burnished and smoke-fired pieces draw inspiration from his Xhosa heritage. The sculptor and arborist Adam Birch even lived on site for months, making pieces from fallen timber and teaching local craftspeople to produce work under his guidance. 

‘A tree grows, it falls, it dies, and is transformed into something that lasts forever by a maker handing down their skill,’ says McGowan. ‘We live in a disposable society so when you really consider what’s important, that includes the preservation of nature as well as crafts and traditions, all of which connect us and place importance on what we should be putting into the world. These pieces have a narrative and will last for generations.’

What unifies all of these handmade hotels is that they are not just comfortable and stylish; thanks to the vision of their founders and the expertise of the designers and craftspeople involved, they are imbued with contemporary, multi-layered design stories and support local tradition and skills, while also being luxurious and unforgettable places to stay.


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>Shalini Misra has spent almost three decades seeking out talented craftspeople for her interior design projects around the world, driven by a belief that handmade objects and finishes can enrich people’s lives. ‘Every space I design has a narrative and, to me, craft is about storytelling,’ she says. 

Curio is the culmination of this ongoing quest, bringing together the work of over 60 makers, designers and artists from across the globe who share a restless urge to experiment with materiality, technique, shape and form. Over the coming months, Curio’s stable of creatives will grow.

The seeds for Curio were sewn in Misra’s childhood in India, where she lived until the age of 24. ‘The country is so rich in colour, culture and tradition,’ says the award-winning designer. ‘Craftsmanship is visible everywhere – in the religious festivals, which I enjoyed immersing myself in when I was young, and on city streets. The person selling you baskets or metal utensils in Delhi, for example, will also be the maker, and if you want a slightly different design, they will create it in front of you.’ This fuelled Misra’s desire to champion craftsmanship in her work, and reinvigorate traditional practices for new generations.

Misra qualified as an architect at the Delhi School of Architect and Planning before studying Urban Planning at the University of Columbia in New York, then moving to London for a postgraduate course in Virtual Reality in Architecture at the Bartlett School of Architecture. She founded her architectural interior design practice, Shalini Misra Limited, in London in 1996, which works on high-end residential, hospitality and commercial projects around the world. 

![Mel Yates Shalini NW8 0080 RE-4](//images.ctfassets.net/x6xe625x10yr/3nUNzzpncobK8AORKhROon/d2f1beef729c127a93e35481f2a9c496/Mel_Yates_Shalini_NW8_0080_RE-4.jpg)

Art, craft and design are at the core of Misra’s projects. ‘I usually start the conceptual stage by looking for local artisans and artists I can work with. Sometimes they are easy to find but at other times they are more hidden. I founded Curio to unearth beautiful furniture, lighting accessories and art for those who – like me – seek the out-of-the-ordinary and want to celebrate human creativity.’

![Mel Yates Shalini NW8 0088 RE-1](//images.ctfassets.net/x6xe625x10yr/2y9jtAEwYX8P9syTyMHD3v/408d3a60aad725254328c7a394d46a78/Mel_Yates_Shalini_NW8_0088_RE-1.jpg)

Curio’s mission is to spotlight both emerging talent and established masters, while giving traditional skills contemporary relevance. Misra’s own home in Delhi tells a story about Indian craftsmanship in a contemporary context. A bespoke cabinet at the entrance, for example, is decked in the thikri mirrored tiles that typically adorn centuries-old Indian palaces. By contrast, her London home is a celebration of British craftsmanship, featuring custom-made pieces by makers including Rupert Bevan, who gave chinoiserie a fresh spin for Misra.

![BHA 1803-3](//images.ctfassets.net/x6xe625x10yr/7KlIwhxdTHdFkaL8ZZSlgS/2acf341d2e13117f8056780f80ceb033/BHA_1803-3.jpg)

Some of the makers Misra has commissioned for her own interior design projects will be available on the Curio platform, along with unique pieces by designers, makers and artists from different corners of the world, discovered by the wider team. ‘Curio’s pieces are an antidote to today’s throwaway culture,’ says Misra. ‘They are objects to pass down the generations, which will give new layers to their story.’ In the near future, the team hopes to offer bespoke pieces for collectors, to make these narratives even more personal.

### Shalini Misra is the founder, creative director and executive chair of Curio

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>Looking at Zoë Wilson’s intricate stone carvings from a distance, you would be forgiven for thinking they were made by machine. In some works, delicate circles overlap to create hypnotic geometric patterns while in others, crisp-angled forms rise from the surface of the stone like folds in paper. It's only when you take a closer look that the imperfect chisel marks become visible, revealing the hand of the maker.

'I've always set out to make my work look machine made,' says Wilson, a self-confessed stone obsessive. 'We are so used to seeing machine manufacturing these days and I think that raises the bar on craft - it's not a negative thing, you just have to up your game. The challenge is to make it look as perfect as possible.'

![Journal - Zoe Wilson - Body Image 1](//images.ctfassets.net/x6xe625x10yr/17yI1aixSrBaPddTEpiRZH/65ba0121c90a51faef3394349d1eca96/Journal_-_Zoe_Wilson_-_Body_Image_1.jpg)
[__Nexus Limestone by Zoë Wilson__](https://www.curio.space/nexus-limestone-stone-carving/p/S22DZOEN003-001) __and__ [__Picture by Tara Bradley-Birt__](https://www.tarabradleybirt.com/)

The almost imperceptible irregularities to the lines and curves give the work its humanity, however, making it more tactile than a machine could ever achieve. 

Based in Stockbridge, in the UK county of Hampshire, and working out of an 18th century studio that forms part of a historic fishing lodge, Wilson creates intricate stone carvings that put a contemporary spin on a very traditional craft. Working on slabs or spheres of British stone, using a surprisingly minimal toolset – a compass, ruler and pencil to draw the patterns onto the stone, and a mallet and three different sizes of chisel to carve – the pieces can take up to a week to make.

'It's a hugely meditative process,' she says. 'I find my work very restful to look at. I don't know what it is about my brain that finds accuracy so satisfying.'

![Journal - Zoe Wilson - Body Image 2](//images.ctfassets.net/x6xe625x10yr/1YqLNsT8iXgqF6ccFx9ez/9221e9a6de3130efedff297800785d94/Journal_-_Zoe_Wilson_-_Body_Image_2.jpg)
[__Picture by Tara Bradley-Birt__](https://www.tarabradleybirt.com/)

Wilson says her career is not one she ever imagined for herself. It began over a decade ago, but back then, she was in a male-dominated stone workshop, making heavy duty, architectural stone masonry, such as steps, worktops and doorways and even acquiring a forklift truck license along the way.

After completing a diploma in Historic Stone Carving in 2016, Wilson moved to Brunei, which provided time for reflection and helped her establish a new direction for her work. She returned to the UK in 2019 and began carving intricate and complex geometric forms influenced by the Islamic patterns and the sacred geometry of the rainforest she had seen on her travels. Her time away from home also made clear her love for British stone, which she now works with exclusively.  

'I realised how important it was to me,' she remembers. 'It's the bedrock of where I've grown up. There are so many beautiful stones in the world, but I just don't have the same connection with them.' 

For Curio, Wilson has bought together a body of work featuring Scottish sandstone, Portland limestone and Welsh slate. The selection includes wall pieces, casts and stone spheres. Based on four, five and eight-point stars, the spheres – which were made for our launch and two of which are exclusive to Curio – proved particularly challenging to make and involved Wilson teaching herself spherical geometry. 

![Journal - Zoe Wilson - Body Image 3](//images.ctfassets.net/x6xe625x10yr/54Y0qf9wGcN8Z6pNYL1Epr/027f3babe12fcc64cf6c50aff74e1a80/Journal_-_Zoe_Wilson_-_Body_Image_3.jpg)
[__Arc Limestone by Zoë Wilson__](https://www.curio.space/arc-limestone-stone-carving/p/S22DZOEN005-001) __and__ [__Picture by Tara Bradley-Birt__](https://www.tarabradleybirt.com/)

This sort of problem solving is an element of her work that she particularly enjoys, but when asked what compels her to be a maker,  she answers simply: 'I cannot not make. Being a maker is intrinsic to me. Had I not found stone, I would have found something else. I just love the process of making.' 


Zoë Wilson gives a fresh spin to an age old craft

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>In honour of International Women’s Day, we want to champion and spotlight the exceptional talent of some of our female makers. We caught up with three designers to discuss their experiences within the industry, from trials and tribulations they’ve encountered, to the driving force behind their design approach. 

__Pia Wüstenberg__
# 
Finnish-German designer Pia Wüstenberg founded Utopia & Utility to explore the intersection of design and craft. Her functional, yet playful sculptures and compositions are rich in narrative and place value on the beauty found in imperfection.

[Shop Utopia & Utility](https://www.curio.space/m/utopia-and-utility)

![1](//images.ctfassets.net/x6xe625x10yr/4rbY0ikwi2djCGdklY5KPN/bfef87febd4b07e38a02d10ac637c165/1.jpg)

__How do you approach your design process, and are there any particular inspirations that influence your work?__

Sometimes it’s something that is applied in a different object, or in a different way, and I can think of a way to bring it together with another material. A consistent influence on my work is craft. I'm inspired by craft processes, craft material, by the environment, by nature and the workshops that people work in. So it’s often the details like surfaces, materials, 
colours and tools.

__How do you incorporate sustainability into your design process?__

Sustainability and ethical practice concern me. I have two children and I want this world to be a good place for them, as well as the generations to follow.  I work locally as much as I can, and have to have justification for going further afield. Also, I try to make sure my work benefits people rather than corporations, and work with natural materials and those that have as little processing as possible. 

My company Utopia & Utility combines function and fantasy. The idea is to bring together art and design. The objects that we create are handmade, so for each piece, we work with craftsmen and individual people that work in their own workshops. The piece as it stands, is a sculpture that can be unstacked and taken apart, revealing individual containers, bowls or vases. 

__Yasemin Toygar__

The London-based designer hand-crafts custom-made furniture by local makers in a small atelier in Istanbul. Yasemin takes an experimental approach to her design work, using an array of contrasting colours, textures and structures including materials such as marble, onyx, brass and velvet. 

[Shop Yasemin Toygar](https://www.curio.space/m/yasemin-toygar)

![2](//images.ctfassets.net/x6xe625x10yr/2yqYAwjkYjmyga8E5GvkS0/dcfe435b6bd855f6a921e2f1290c2e01/2.jpg)

__Can you share any experiences where being a woman in the design industry has positively impacted your work or opened up unique opportunities for you?__ 

Being a woman in the design industry has given me the opportunity to connect with and learn from other women in the industry who have established themselves as successful entrepreneurs.

__What are your hopes and aspirations for the future of design, both personally and for the industry as a whole?__

My hopes and aspirations for the future of design are seeing more thoughtful designs that reflect the heart and soul of the creator and that have a positive impact on people and the environment.

__Alissa Volchkova__  

Multidisciplinary Franco-Russian designer and artist, Alissa Volchkova specialises in ceramic and glass, using crushed, recycled glass and porcelain to craft expressive homewares. Movement is a central theme in her work, achieved through unconventional production methods, whether reimagining the 16th-century 'ice glass' technique from Venetian artisans or embracing the unpredictable nature of slip movement and kiln firing. 

[Shop Alissa Volchkova](https://www.curio.space/m/alissa-volchkova)

![3](//images.ctfassets.net/x6xe625x10yr/2Y4S2lKGH8bbzUGub1f6og/a31870d0a8049fb3f09230627f9ffd96/3.jpg)

__As a woman in the design industry have you faced any specific challenges and how have you overcome them?__

When work is interesting, people shouldn’t really care about the gender. But I definitely see that women in the field of design interestingly have fewer children, and if they do have children, they keep it quiet. Perhaps this is to show they are still efficient and can maintain their creative potential. Not so many designers I know have children or share that they are parents, which is quite sad. 

__What advice would you give to aspiring female designers who are looking to establish themselves in the industry?__ 

Be sure and proud of yourself. If you love your project, confidence is key, no matter who you are. 

__Diversity and inclusion are essential topics in today's design landscape. How do you ensure that your designs are inclusive and representative of diverse perspectives?__

Currently, my work primarily caters to galleries rather than a mass audience. However, I'm preparing to introduce a new series of pieces accessible to everyone at an affordable price. 

[Explore the pieces from our female makers](https://www.curio.space/journal/a-female-focus-international-womens-day)

A Female Focus: International Women’s Day 

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## In recent years the desire for unique, handmade pieces for the home has vastly increased. In 2019, UK craft sales rose from £883m in 2006 to over £3bn according to a study by the UK Crafts Council. 

The findings suggest a rapidly growing number of consumers are conscious to reduce their environmental impact, rejecting mass-produced goods in favour of considered, handcrafted alternatives with longer lifespans, low-impact production and higher rental and resale value.

[![Journal - Conscious craft - Body Image 6](//images.ctfassets.net/x6xe625x10yr/11U2qxsDriN2cvU4NfOTQc/50ffa2c3e42fe0d2bf458efbdf10869e/Journal_-_Conscious_craft_-_Body_Image_6.jpg)](https://www.curio.space/charlotte-kidger-vessel-6/p/W23DARCE002-001)
[Sculptural vessels by Charlotte Kidger for Arcade](https://www.curio.space/charlotte-kidger-vessel-6/p/W23DARCE002-001)

### Why are sales of craft increasing?

Future generations of consumers – most notably Millennials and Gen Zs – are committed to a ‘buy less, buy better’ mentality. The Craft Council’s 2020 Market for Craft report found that of the 73% of UK adults investing in craft during 2019, 32% of buyers were aged under 35 and that 10.3 million British consumers (33% of buyers) are now purchasing craft online. While younger generations are leading the charge, the shift in mindset can be seen across all age groups. For example, in a 2022 US study by First Insight, 90% of Gen X consumers – those born between 1965 and 1981 – said that they would be willing to spend an extra 10% or more for sustainable products. 

These changing mindsets, coupled with the fact that by 2030 Gen Z will represent 27% of the world’s income, indicate that sales of handcrafted products are only set to increase.

[![Journal - Conscious craft - Body Image Alex Mint](//images.ctfassets.net/x6xe625x10yr/6Vg8sHFcuh7wtfHKziqQv6/45009aa7dcad052d1be18ba06659aa2e/Journal_-_Conscious_craft_-_Body_Image_Alex_Mint.jpg)](https://www.curio.space/tethys-side-table/p/W22FALET002-001)
[Tethys Side Table By Alex Mint](https://www.curio.space/tethys-side-table/p/W22FALET002-001)

### How can I be a more responsible consumer?

Knowing what to look out for when buying and sourcing sustainable design can be challenging, especially when greenwashing is commonplace and time and budget are limited. Systemic change starts with education. Learning to be a responsible consumer, designer or business owner is primarily an individual journey. While we can draw on the advice of others and work with colleagues to extract solutions, we must take personal responsibility and invest time in finding ways to contribute to positive change.

Books such as ‘The Future We Choose’ by Christiana Figueres and short courses provided by trusted resources such as the Ellen Macarthur Foundation offer in-depth information, but for those eager to make immediate change, here are eight actions to implement now:

__1. Select energy efficient light bulbs__

Lighting currently represents about 20% of global electricity consumption. LED light bulbs use around 85% less electricity than their conventional counterparts. They also contain no mercury or hazardous chemicals, making disposal much easier and cleaner. Switching to LED is a crucial part of reducing our home’s environmental footprint as well as its running costs. For specialised, contemporary LED bulbs, UK lighting brand Tala is a great option. For lighting which has integrated fixtures, opt for LED designs such as the [Diva Floor Lamp](https://www.curio.space/diva-orange-dimmable-floor-lamp/p/W23LNICI006-001) by [Nicola Cecutti](https://www.curio.space/maker-detail/nicola-cecutti).

__2. Beware of secondary impact__

As part of a circular design approach, many brands are launching homewares using fabric made from recycled plastic. While this is commendable, in some instances the brands are not clearly communicating that these fabrics require special care to lessen their environmental impact. Domestic washing machines are not designed to capture microplastics, so small plastic particles are fed directly back into water streams during cleaning. While the creation of the product is diverting waste from landfill, it is also important to recognise the secondary impact products such as this can have.

__3. Opt for solid wood furniture__

Solid timber furniture is a more conscious investment as it is more amenable to restoration and repair. If the surface is damaged it can be stripped, sanded, and refinished whereas veneered options can sometimes be more challenging to restore. If a veneered item is water damaged, the substrate layer (often MDF) can swell and prevent it from being fully restored. When buying or specifying a veneered design, always prioritise natural veneers over melamine or synthetic alternatives to maximise its capacity for restoration. 

__4. Choose upholstered items with natural fillings__

While some materials within a product may not be visible, their contribution to its environmental footprint is just as important. Soft furnishing fillings are often made using plastic foam but responsible designers are opting for organic and non-toxic alternatives such as natural latex, coir, and wool. Benchmark’s collaboration with Naturalmat is a good example of how designers are working towards more sustainable solutions. 

__5. Buy local crafts__ 

Sourcing locally is paramount to the environmental efficiency of any interior design project. By sourcing as close to home as possible the logistics footprint is automatically minimised. Small design studios such as [Granite and Smoke](https://www.curio.space/m/granite-and-smoke) and [Rupert Bevan](https://www.curio.space/m/rupert-bevan) offer supply chain and production transparency providing customers with the opportunity to create bespoke designs. Having a conversation with the maker directly also allows you to challenge the manufacturing process to ensure you are happy with the way it is being produced. 

__6. Invest in responsible art__

In the art world one of the most challenging materials is acrylic paint. Difficult to dispose of due to its toxic ingredients such as micro-plastics and heavy metals, many artists are turning to natural solutions. Artist [Lisa-Marie Price](https://www.curio.space/m/lisa-marie-price) is one of those looking to challenge the way art is created by using natural pigments from foraged materials such as chalk and red brick. En masse, small changes such as this can have a big impact on the wider industry. 

__7. Take note of certifications__

The world of certifications can be confusing with no central structure and a variety of organisations providing similar accreditations. However, there are three certifications to look out for which not only offer transparency but have rigorous procedures in place to ensure that brands comply.

  – B-Corp bcorporation.net\
  – DECLARE Labels declare.living-future.org\
  – Cradle to Cradle Certified c2ccertified.org

And remember, when buying wooden furniture, all timber should be FSC certified.

__8. Check off the 3 Rs__

When buying a new item for the home always ask: can it be restored if damaged, recycled if it comes to the end of its life, reused (or rented) if circumstances change and the piece is no longer required. Checking off this list for every purchase will eliminate investing in anything that might have a short lifespan. Also, opt for designs which can be broken down into components to make repair more convenient. And lastly, before buying something new, check if a vintage alternative is available first. 

![Journal - Conscious craft - Collage 1](//images.ctfassets.net/x6xe625x10yr/7jjbxvUMbpnXRoKlUwuBm2/a649a63da5a20fb908162aa90e045631/Journal_-_Conscious_craft_-_Collage_1.jpg)
[The Thinker Plum Table Lamp by Nicola Cecutti](https://www.curio.space/the-thinker-plum-table-lamp/p/W23LNICI007-001) and [Ayrton Bench by Goldfinger](https://www.curio.space/ayrton-bench/p/S22FGOLR004-001)

![Journal - Conscious craft - Collage 2](//images.ctfassets.net/x6xe625x10yr/6XPnCnQYOkhvr5EKH3QpAM/d37a091daf198c3b98b5be2e99a78a69/Journal_-_Conscious_craft_-_Collage_2.jpg)
[Langford White Oak Chair by Modet](https://www.curio.space/langford-white-oak-chair/p/W22FMODT001-001) and [Ups and Downs by Lisa-Marie Price](https://www.curio.space/ups-and-downs/p/S22DLISE010-001)

## At Curio, our ethos is to make everything we own matter – to make it emotional, considered, and thoughtful. We offer an antidote to trends and throwaway culture, seeking out and spotlighting skilled makers from around the globe, telling their stories and celebrating their craft. By doing so, we hope to not only reframe the way people think about the objects they surround themselves with but also future-proof and safeguard global craft techniques for future generations.


Conscious craft: how to be a responsible consumer

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## ‘We treat metal as if it were clay,’ says Indian designer __Vikram Goyal__, explaining how artisans in his New Delhi workshops transform sheets of brass into intricate sculptures of cranes taking flight, their magnificent feathers spreading out beside them. But brass is anything but easy to sculpt. The floor-mounted piece in question took three months to make: first it was slowly raised in relief from the back, using hammers, then engraved and detailed from the front.

Goyal’s comment is characteristic of a man who believes in expanding the possibilities of both materials and techniques. ‘Our work is about trying to push craftsmanship to its limits,’ he adds.

![Journal - Vikram Goyal - Body Image 1](//images.ctfassets.net/x6xe625x10yr/60yli6fRhfprMxf7MWKtM5/94358ccd6dc2793e460c80f138832804/Journal_-_Vikram_Goyal_-_Body_Image_1.jpg)
[__Sakura Console by Viya Home__](https://www.curio.space/sakura-console/p/S22FVIYE001-001)

The designer grew up in New Delhi but spent his holidays in Rajasthan, a region with a particularly rich craft heritage, which seeped into his blood. He studied abroad and worked in New York and Hong Kong before returning home in 2000, beginning his journey into the world of artisanship a few years later. 

Driven by a desire to breathe modernity into Indian design and making, he began researching master craftsmen and discovered a metalsmith working in a garage in Delhi. They would work together for the next 12 years.

Goyal teamed up with his sister Divya to start Viya Home in 2003, which now includes teams of metalsmiths, who collaborate with makers across Delhi and Agra to make furniture and sculptures. ‘The idea was to take some of the extraordinary local skills in India to a wider audience,’ he explains. 

Quickly the studio was creating pieces for designers and galleries across the world, including Jacques Garcia, Todd Merrill and Christian Louboutin. ‘Living in different places, including Hong Kong and America, as well as India, has shaped my design perspective and helped me give traditional techniques a global aesthetic appeal.’

![Journal - Vikram Goyal - Body Journal - Vikram Goyal - Body Image 4 optional](//images.ctfassets.net/x6xe625x10yr/6bzle2bNUvm68ffDenUatu/a8551d5016ac8d7653736ff3653159f4/Journal_-_Vikram_Goyal_-_Body_Journal_-_Vikram_Goyal_-_Body_Image_4_optional.jpg)
[__Soaring in Fuji Sculpture by Viya Home__](https://www.curio.space/soaring-in-fuji-sculpture/p/S22DVIYE003-001)

One of the skills that the Viya Home team have honed is repoussage (French for ‘pushed up’), the method of metal decoration used to create the crane relief. Its origins stretch back to ancient Greek, European and Egyptian civilisations and it was later used in Indian temples and palaces, as well as being popularised by French decorators in the 1950s and ‘60s. 

Goyal’s lyrical designs reinterpret it for homes and hotels across the world. ‘So much of metalwork today is made in a forge, using methods like lost wax casting, but we do everything by hand,’ he says. ‘I’m not seeing this kind of repoussage work coming out of anywhere else in the world right now.’

Viya Home also makes brass console tables, their tops suspended by branches covered with tiny hand-cut metal leaves. The tables are embellished with semi-precious stones, shaped by artisans in Agra, who have also created tops for a series of cocktail tables. Instead of inlaying them in stone, as you might find inside the Taj Mahal, they set the malachite, lapis lazuli and tiger eye in fine lines of brass. As a result, the tables look like oversized pieces of jewellery for the home.

![Journal - Vikram Goyal - Body Image 2](//images.ctfassets.net/x6xe625x10yr/1RilksU35eNhpkY3Mj4RRA/8debd7d9d40e8a6faa69f25ce243b678/Journal_-_Vikram_Goyal_-_Body_Image_2.jpg)
[__Saturns Hexagon Cocktail Table by Viya Home__](https://www.curio.space/saturns-hexagon-cocktail-table/p/S22FVIYE004-001)


How designer Vikram Goyal is reimagining Indian craft skills

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## Hand in Hand: Making in the Modern Age celebrates the creatives who are reinvigorating artisanship today

What is the future of modern making? This question is at the heart of Curio’s installation *Hand in Hand: Making in the Modern Age*, which brings together the work of international makers, designers and artists who are taking traditional craft techniques in new directions and pioneering processes of their own. 

The installation at the Nehru Centre in London’s Mayfair serves as a launchpad for Curio’s wider mission: to bring new communities of makers, aesthetes and creative patrons together to celebrate human creativity and craftsmanship. 

![Journal - Nehru - Body Image 4](//images.ctfassets.net/x6xe625x10yr/3z18b3WvYU27jBLduImDNM/e918651e9a807a4a5f75d1817802704a/Journal_-_Nehru_-_Body_Image_4.jpg)

Visitors to the centre – the cultural wing of The High Commission of India in the UK and the hub for the Mayfair Design District during the London Design Festival – will be greeted by a pair of intricate ‘Majorelle’ screens by New Delhi-based studio Viya Home, featuring flora and fauna rendered in patinated brass, with semi-precious inserts. In the entrance hall, these decorative pieces contrast with the work of two UK-based creatives: a minimalist mobile chandelier by Michael Anastassiades, and a sculptural table by Tom Faulkner with a Calacatta Verde marble     top that appears to balance atop two bronze tetrahedrons.

‘The exhibition shows the rich eclecticism of what Curio offers,’ says art director, Amy Heffernan. ‘We wanted to emphasise the wide variety of ways that makers and designers are exploring materials and techniques.’ 

All of the Curio creatives are united by a desire to experiment and push the possibilities of craft. The London-based artist Purdey Fitzherbert, for example, creates vibrant collages of Japanese paper stained with inks and vegetable dyes, evoking natural phenomena like river deltas. ‘The process of creation is paramount and the innate beauty of traditional crafts techniques enable this to come to the fore,’ she says. 

Meanwhile, New Delhi-based Klove Studio combines indigenous glassblowing and metalwork techniques with a contemporary design sensibility to create towering, highly elaborate lighting sculptures inspired by peacocks, among other things. ‘We believe in slow design, artisanal craftsmanship and handmade in India,’ they say.

Curio’s pieces often tell stories about specific regions around the world. The Touch Table designed by Ilse Crawford, for example, is made using the Konjic woodcarving technique, a craft with a long tradition in the Bosnia and Herzegovina municipality of Konjic and added to the UNESCO Intangible Cultural Heritage Lists in 2018. The technique, which creates a ripple effect on the surface of the table, has been preserved and perfected by furniture company Zanat, which produced several pieces for the show. ‘It exemplifies Curio’s mission to use contemporary design as a way to revitalise traditional crafts,’ says Heffernan.

![Journal - Nehru - Body Image 6](//images.ctfassets.net/x6xe625x10yr/6s5HJP7DxhA7xXvJ5IlNrK/fc5584c0b495a16416554c2fef6e51ae/Journal_-_Nehru_-_Body_Image_6.jpg)
[__Verdigris Brass Rambling Bowl by Ane Christensen__](https://www.curio.space/verdigris-brass-rambling-bowl/p/S22DANEN004-001)

Some of the pieces at the Nehru Centre toy with the tension between attraction and repulsion. A case in point is the Scholar’s Vases collection by London-based Tamsin van Essen, who has interrupted the perfection of their forms by eroding them with tiny, indecipherable letters. The iron-rich terracotta gives the pieces a rust-red colour, while the inclusion of combustible material in the clay adds unpredictability to the firing process. In her hands, the aesthetics of decay are strangely seductive. 

Curio’s collections offer a refined take on the world of contemporary making. ‘We want to give people a new vision of what craft can be today that often invokes a sense of curiosity and surprise,’ explains Curio founder and creative director, Shalini Misra.

A celebration of the creatives who are reinvigorating artisanship

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>'It’s a lifetime of love,' says London-based maker Ane Christensen of her bond with metal. For almost 25 years, she’s been producing sculptural pieces, abstract bowls, wall hangings and large scale installations in silver, steel and brass that have optical illusions in their forms, which she describes as a meeting of 'contrasts and balance’. 

The idea of a kinship with the material rings true for the founder of Novocastrian too. Metalwork is in Richy Almond’s blood. 'I'm from a long line of shipbuilders who crafted steel-hulled warships and tankers on the River Tyne,' he says. Novocastrian, based in the North East of England, repurposes historic shipbuilding crafts to create its furniture – from consoles to mirrors – bringing them into the modern world. 

![Journal - Metal Making - Body Image 2](//images.ctfassets.net/x6xe625x10yr/6U0R09HLA33Pf8394OvZzD/a2e26e70dcc0f46c0a96a07347ded6e3/Journal_-_Metal_Making_-_Body_Image_2.jpg)
[__Novocastrian__](https://www.curio.space/m/Novocastrian)

Relationships with metal require hard graft. 'Steel is both flexible and frustrating,' Almond says. Yet for Marta Sala, founder of Milan-based Marta Sala Éditions, the effort involved ‘gives soul’ to the furniture. She started working at her family’s furniture making business at 23 years old, before setting up her eponymous brand in 2015, which pushes the boundaries of materials, taking what she describes as a 'Bauhaus project approach', defined by a rigorous attention to design and quality. To create her collections, Sala pairs the architects and designers Claudio Lazzarini and Carl Pickering with highly skilled artisans, who use 20 different finishing techniques to give the metal its character. 

Meanwhile, Christensen creates the illusion of effortlessness with her work, but it is 'physically hard to shape those lines,' she admits of the grooves in her ‘Dented Bowl’ series. 

![Journal - Metal Making - Body Image 2-1](//images.ctfassets.net/x6xe625x10yr/6aSXyaZyLOpzf3jfeHPSZy/4ed2427b2cf864999ef79a67af61f7c2/Journal_-_Metal_Making_-_Body_Image_2-1.jpg)

All three creators have alternating journeys with metal. Almond’s team often uses traditional blacksmithing techniques for blackening steel, like for the ‘Staiths Console’ table. Its skeletal silhouette is inspired by the Victorian industrial structures in the River Tyne, which were once used to help steam trains full of coal load up waiting barges. The techniques used are similar for the console, involving cutting lengths of steel bar and welding them into a frame, into which panels of brass or steel are fixed for the shelving. 

Christensen thinks slightly differently. 'I'm not interested in the techniques,' she explains. To her, they are simply problem solvers – routes to making objects look as if they are floating or spilling. However, she has perfected the craft of hand-piercing, which she uses when creating the ‘Dented Bowl’ series. There’s no room for error with this precise technique: the bowl is made from a single sheet of metal, using the Egyptian technique of spinning over a wooden form on a lathe, before the piercing begins.

'Stability, proportion, comfort and durability' is what metal brings to Sala's furniture, she says, but its benefits are aesthetic too. Take the undulating legs of the ‘Mathus’ table, designed by Lazzarini Pickering in 2016. Among the 15 different metal finishes used to create the piece, it's the way the bronze is galvanised with nickel that adds 'deepness to it', Sala believes. 

The complex layers of metal keep these creators coming back for more. For Christensen, no other material would allow her to create geometric forms that seem to float in mid-air, while for Almond, metal enables him to tell a story about his family’s industrial heritage in a luxury design context. And for Sala, it lends a unique character to her curvaceous furniture. Metal can be both delicate and robust – contrasting qualities that are endlessly compelling for designers. 

![Journal - Metal Making - Body Image 3](//images.ctfassets.net/x6xe625x10yr/23H4vA5HNgigkRTnvuW20l/126356a3393255e41df4b34c9c9e1bc4/Journal_-_Metal_Making_-_Body_Image_3.jpg)
[__Tata Wall Mirror by Novocastrian__](https://www.curio.space/tata-wall-mirror/p/S22FNOVN013-001)


How three creators are flexing metal in new directions

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Purdey Fitzherbert - Hero Mobile

>Artist Purdey Fitzherbert sees potential in things other people might throw away or take for granted. Her mixed-media works incorporate papers salvaged from demolition sites or torn from graffitied walls, combined with handmade pigments, inks and dyes. The resulting layered surfaces reference life’s transience and the beauty of decay.

‘I’ve always been really interested in collecting materials to use in my work,’ explains Fitzherbert, recalling how at school in Surrey she would salvage discarded objects to transform into sculptures and artworks. ‘I was excited by alchemy and the possibility of turning ordinary materials into something extraordinary.’

[![Purdey Fitzherbert - Body Image 1](//images.ctfassets.net/x6xe625x10yr/2zf0Cq3797xudmQz5hpuOE/c6b4c1d76c4c10f730e0c9ca87ed729d/Purdey_Fitzherbert_-_Body_Image_1.jpg)](https://www.curio.space/m/purdey-fitzherbert)
## Purdey Fitzherbert in her London studio

Following her studies at Wimbledon College of Art and Newcastle University, Fitzherbert began to explore ways of making art using materials such as metals, salt, plants and mud. At this time, much of her inspiration came from the long walks she would take to combat her chronic insomnia. She found that tiredness made her hyperaware of sights and sounds, informing abstract works that combined references to natural phenomena with hypnotic, dreamlike compositions of shapes and colours.

![Purdey Fitzherbert - Body Image 7](//images.ctfassets.net/x6xe625x10yr/6ViRcx8cLditVZk8YxXwbC/05a3864ca07d2c4ed15d333a85e962cf/Purdey_Fitzherbert_-_Body_Image_7.jpg)
## Fitzherbert’s experimental approach produces captivating results

Fitzherbert describes herself as a ‘process painter’ and says she often feels like a scientist, experimenting with materials to produce unusual effects. This might mean heating something rapidly with a hairdryer or leaving paper outside to be marked and scratched by birds. These methods generate unpredictable results that give the work a sense of vibrancy and uniqueness. ‘During the making process I only have partial control over the way materials are going to combine and react,’ she points out. ‘I start with a very clear plan but I almost never stick to it. It’s about constantly responding to what I’ve created and working out what I need to do next. Often what happens when I let go and lose control is more beautiful than what I could have envisioned.’

![Purdey Fitzherbert - Body Image 4](//images.ctfassets.net/x6xe625x10yr/FXKyxM22asIjufyaaL5kI/88201131237bb53c3138a43a322fd2a0/Purdey_Fitzherbert_-_Body_Image_4__quality_low_.jpg)

![Purdey Fitzherbert - Body Image 4 alternate-2](//images.ctfassets.net/x6xe625x10yr/71CpOpX9U1oBRwpPbsfVTY/d54d97dc3929318a29b9adbb51ccf53d/Purdey_Fitzherbert_-_Body_Image_4_alternate-2.jpg)
## Fitzherbert uses water- and plant-based materials, along with paper sourced directly from traditional Japanese manufacturers.

Working in harmony with the environment, she avoids toxic chemicals, opting instead to use water- and plant-based materials, along with paper sourced directly from traditional Japanese manufacturers. She feels there is a humility to this handmade paper that aligns with the Japanese philosophy of wabi-sabi and the idea of celebrating the beauty and fragility of materials as they age. ‘I’m influenced by Buddhist practices and the idea that everything around us is in a constant state of deterioration and rebirth,’ Fitzherbert explains. ‘You can see some of those things in the surface of my work.’

[![Purdey Fitzherbert - Body Image 8](//images.ctfassets.net/x6xe625x10yr/xGeppmwfdnaeaJzJewCue/51f09d8cc5b8892e4fa95baa080c74d7/Purdey_Fitzherbert_-_Body_Image_8.jpg)](https://www.curio.space/hanging-mantle/p/S22DPURT007-001)
## Hanging Mantel by Purdey Fitzherbert, created exclusively for Curio and showcased at Curio's debut installation, Hand in Hand: Making in the Modern Age.

For Curio’s launch exhibition in September 2022, Fitzherbert created a series of large-scale paper works that explore concepts including destruction, erosion and imperfection. The artworks feature materials collected from the urban environment in London, where she has lived and worked since returning from her studies in 2011. Graffitied fly posters and wallpaper scavenged from demolition sites are elevated through the application and careful layering of handmade paints she creates using natural materials, or by hand-grinding found objects such as rusted nails. Each of these unusual ingredients adds to the character of the pieces. This commitment to process coupled with her unique ability to uncover beauty in the most unexpected of places results in deeply personal work that continues to surprise and intrigue. Curio believes that Fitzherbert is indeed a talent to watch. 

[Explore Purdey Fitzherbert's Work](https://www.curio.space/m/purdey-fitzherbert)


How Purdey Fitzherbert uses found materials to craft her artworks

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>In the hands of UK-based craft pioneer Tom Palmer, materials are manipulated into unrecognisable guises; acrylic is made to shimmer like ice, black-sprayed polyurethane is worked to look like liquid, and cast resin is tinted to resemble a human iris.

Palmer’s spellbinding sculptural creations are made using experimental and scientific processes that see him collaborating with craftsmen up and down the country. The resulting pieces often recreate natural phenomena in materials which are profoundly unnatural and industrial. Their function can sometimes be ambiguous, treading a fine line between art, craft and functional design – an element that Palmer, who describes himself as a ‘functional artist’, embraces. ‘I really like that element of surprise that makes people ask ‘how did you do that? or ‘but, what is it?’,’ he smiles. ‘It’s that magic that sparks interest.’

![Tom Palmer - detail1](//images.ctfassets.net/x6xe625x10yr/5NsssXJpJfsqP3qKs6hxEB/5bb12b657ce465425d3cf5359f744274/Tom_Palmer_-_detail1.jpg)
[__Baltic Iris mirror by Tom Palmer Studio__](https://www.curio.space/baltic-iris-mirror/p/S22DTOMO001-001)

Palmer began his career making chandeliers and restoring furniture before he established Tom Palmer Studio in 2014. Today he works out of a space in a former farm building in rural West Sussex, which he says is something of a materials laboratory filled with trials and samples. From brand-new composites and resins that originate from the automotive and aerospace industries to ancient and ‘noble’ materials like stone and timber, Tom’s work runs the gamut. ‘The way that I work with so many materials can be confusing for people,’ he says. ‘But the variety is what drives me, it’s what keeps me excited.’

![Lith-Side-Table-TOM-PALMER - Journal detail2](//images.ctfassets.net/x6xe625x10yr/7ek5tHVPIkQgW2fEIAHNjj/fec79ad48099f49097d786e257ab595b/Lith-Side-Table-TOM-PALMER_-_Journal_detail2.jpg)
[__Lith Side Table II By Tom Palmer Studio__
](https://www.curio.space/lith-side-table-ii/p/S22DTOMO011-001)

For Curio, Palmer has pulled together a collection of works made using experimental casting processes. A number of them – including vases, jewellery boxes, and tables – are made in crystalline acrylic, which he treats like a precious material. Appearing like perfectly cut blocks of ice or shimmering quartz – but a fraction of the weight – these pieces are cast using a new technique which allows internal flaws and fractures to develop during the casting process. The tiny crevices are filled with the precious metals palladium and platinum, which flow into the fractures where they catch the light and create a twinkling glacial appearance.

![Tom Palmer Parabolic Console 07-1](//images.ctfassets.net/x6xe625x10yr/QLgaA8CXT1uabTOnqm3Xv/35fa6afc1ddcc16bd634f345a43fa184/Tom_Palmer_Parabolic_Console_07-1.jpg)
[__Parabolic console by Tom Palmer Studio__
](https://www.curio.space/parabolic-console/p/S22FTOMO001-001)

Sitting in contrast to his work in crystalline acrylic, the Parabolic series – including a bench, console and side table – are flawless, black sculptures with perfectly smooth surfaces. These works are developed from a unique casting process that allows parabolic voids and curves to be formed through solid blocks. Palmer uses the process to create cast maquettes, which are 3D scanned and refined digitally before being carved using a 5-axis robot arm. The process allows the pieces to be created in almost any material – wood, stone or even cast bronze, as well as an almost infinite number of colours and finishes. For Curio, the pieces are carved from solid polyurethane blocks and then finished with black automotive car paint to create furniture with an alluring, molten appearance.

![Tom Palmer - detail4](//images.ctfassets.net/x6xe625x10yr/4CCYAZVlwSTsOnv8vicHBP/ae17c601c40bebf3164dafb449f9cf62/Tom_Palmer_-_detail4.jpg)

Elsewhere, the branch-like Faux Bois candlesticks are cast in super hard plaster and then finished with a hand-carved texture to look like wood, while his Iris mirrors are made from convex lenses of crystal clear polyurethane striated with vibrant pigment to recall human irises. It’s a process Palmer describes as ‘like watercolour painting in 3D’’. Overlayed on hand-silvered mirror discs, these optical artworks amplify light and produce mesmerising multi-layered reflections that shift as the viewer moves around them.

Palmer’s experimental approach and insatiable curiosity makes him a natural fit for Curio, which was founded with the mission to champion contemporary makers who are reimagining heritage craft techniques. ‘The thing that unites my interest in different materials is the search to find a new way of using them,’ reflects Palmer, who later this year will travel to Tuscany in Italy to study marble carving – a trip made possible by funding from The Queen Elizabeth Scholarship Trust (QEST). There, he will explore the stone industry around the Carrara quarries and Pietrasanta before returning to the UK to develop and refine his carving skills, while continuing to produce contemporary pieces of increasing scale, scope and spectacle. 

[Explore Tom Palmer's work](https://www.curio.space/m/tom-palmer)


Tom Palmer reveals the experimental processes behind his creations

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Passionate about wood, furniture maker Jan Waterston creates pieces that explore the junction between art, craft and design.

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Meet Milan's cc-tapis, a distinguished rug maker, renowned for its eco-friendly practices. Crafting meticulous hand-knotted rugs in Himalayan wool.

Shalini Misra Design | Handmade Rug Studio, Milan | Curio

Each rug is handknotted using the finest natural Himalayan wool and sourced from the surrounding areas of the studio’s atelier in Kathmandu, Nepal. No machines are used and everything is handmade by expert artisans following ancient traditional techniques. Every rug passes through many hands. The raw materials are first carded and hand-spun by one team, dyed by a master colour expert, knotted by Tibetan artisans and finished by a team of expert craftspeople who shave, trim and bind the final piece.

Shalini Misra Design

An exclusive rug collection inspired by India’s ancient stepwells, designed by Shalini Misra.

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View cc-tapis' Italian handmade Himalayan wool rugs. Created with respect for the materials and eco-friendly production methods. Explore now.

Shalini Misra Design | Italian Handmade Rugs in Himalayan Wool | Curio

CC Tapis - Portrait

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Stone processing demands meticulous control over every stage: cutting, surface refining, assembly, cleaning, and packaging. L’Eccesso pursues the finest technologies for precision, utilising bridge saws, water jets, numerical control centres, and edge polishers. Skilled artisans merge their expertise with industrial methods, ensuring thorough assembly, cleaning, and testing. Premium sealers are applied, including antacid, stain-resistant, water, and oil repellent treatments.

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L’Eccesso

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L’Eccesso salvages discarded slabs of natural stone from excessive stock, transforming them into contemporary, considered and responsible furniture.

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With over 14 years of experience, Paolo Ciacci is a graduate of Industrial Design and Visual Communication and Industrial and Product Design from Sapienza Università di Roma. He is the visionary founder of Design Interiore, serves as the Creative Director at Estro Collezioni, and is also the co-founder of Stone Stackers.

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L’Eccesso - Paolo Ciacci - Portrait

‘L’Eccesso restores the value and dignity of natural stone which is almost always in excess after any project. We want to lead the restoration movement by not wasting existing materials, rather recognising their beauty by reimagining them into new shapes - which in turn, inspires great creativity.’


Meet Italian brand Stone Stackers, who repurpose marble into artistic furniture. Their designs embrace sustainability, spontaneity, and craftsmanship.

Stone Stackers, Marble Furniture | Repurposed Marble | Curio

Stone Stackers - Maker Detail - Hero

Grounded in the belief to preserve the eternal value and beauty of the stone, Paula and Shilpa partnered with Simeg Marmi, an Italian marble company, to provide their artists access to redundant marble chunks for creative repurposing. Stone Stackers exclusively uses natural stone and minimises the use of heavy machinery in the creation or refining process, instead favouring hand-wrought techniques. The assembling process unfolds naturally and spontaneously, influenced by the distinct characteristics of the broken slabs, preventing precise replication of the pieces.

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Stone Stackers - Maker Detail - Detail 37

Italian brand Stone Stackers creatively repurposes precious discarded marble waste into artful pieces of furniture. Founded by the husband-and-wife duo Shilpa Srinivas and Paolo Ciacci and inspired by the distinctive qualities of the broken marble slabs, their designs are spontaneous as they transcend pre-studied models or shapes. 

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Stone Stackers - PLP & PDP Maker - Mobile

View Stone Stackers, artistic furniture. Their designs celebrate the unique qualities of marble by transforming discarded marble waste. Explore now.

Stone Stackers | Artistic Marble Furniture & Tables | Curio

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Stone Stackers was founded in 2021 by Shilpa and Paola, who studied fine art and design, respectively. Committed to environmental sustainability, the brand strives to revolutionise precious marble waste by transforming it into practical pieces of furniture.

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Stone Stackers - Maker Detail - Portrait

Our pieces amalgamate experimentation with marble waste and craftsmanship to create something from seemingly nothing, forming a creative ecosystem. The designs are spontaneous and transcend pre-studied models or shapes as they emerge from the essence of the material itself before being artfully reassembled.

Meet Medaarch, digital artisans and creators of futuristic furniture. Discover more about their inspiration, background and view their work at Curio. 

Medaarch, Digital Artisans | Futuristic Furniture & Objects | Curio

Medaarch - Maker Detail - Hero

With a focus on sustainability, Mediterranea Design's portfolio of futuristic furniture includes chairs, stools and tables made in Italy from experimental materials such as 3D-printed bioplastic. The vivid colours and free-flowing forms of each piece are inspired by the Mediterranean landscape and the skill of the maker's hand. 

Passionate about Italian craftsmanship in the digital era, Mediterranea Design also runs courses that educate artisans on how to blend traditional and digital processes. Its ambition is to encourage the creation of forward-thinking products that are more sustainable, affordable and durable.

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Mediterranea Design

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Mediterranea Design is an Italian architecture and design firm that makes furniture using advanced digital manufacturing processes and technologies. The studio's collection of 3D-printed bioplastic furniture features vivid colours and free-flowing forms evocative of the Mediterranean landscape.

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Medaarch, Italian Designed 3D Printed Bioplastic Furniture | Curio

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Founded in 2007 by an engineer, architect and marketing and communications expert, Mediterranea Design is a truly multidisciplinary practice with a portfolio that spans urban architecture projects, exhibition installations and furniture design. Based in Italy's Campania region, the team is made up of designers, entrepreneurs, engineers, researchers and content creators.

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We are inspired by a vision of the future in which digital technologies and a humanistic approach go hand in hand, with sustainability as the main and essential objective.

Meet Jaipur Rugs' founded led by NK Chaudhary since 1978. Find rugs created in traditional weaving methods with modern sustainability and design. 

Jaipur Rugs | Family Run Studio fostering Local Communities | Curio

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Bringing together 2500 years worth of weaving traditions with modern sustainability and design, Jaipur Rugs follows a meticulous process rooted in Indian heritage. Beginning with carding and spinning, Katwari artisans layer and transform carefully selected wool into yarn using a spinning wheel, or charka. Yarn is sun-dried and dyed to over 3000 colours and hand-knotted by skilled weavers, a process that can take up to a year. Methodological washing and Gultarash techniques further enhance the rug's quality and finish, resulting in textural masterpieces that showcase the splendour of Persian and Tibetan knots.

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Jaipur Rugs

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Jaipur Rugs, a leading Indian rug maker, reinterprets age-old crafting techniques to weave exquisite creations inspired by various design movements, from hand-knotted woollen Moroccan rugs, to Art Deco-inspired flatweaves.

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View Jaipur Rugs' collection at Curio. From wollen Moroccan hand knotted rugs and Art Deco inspired flatweaves to contemporary designs. Explore now.

Jaipur Rugs | Handmade Rugs from Indian Artisans | Curio

Jaipur Rugs - Maker Detail 4

Starting with a loan from his father, NK Chaudhary founded Jaipur Rugs in 1978, initially working with nine artisans on two looms. Hailing from Churu, Rajasthan, Chaudhary's journey began with humble beginnings, eventually earning him the title, 'Gandhi of the Carpet Industry’. Chaudhary grew the business into one of the largest hand-knotted rug manufacturers, driven by dignity and human kindness.

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“Let goodness, fairness and most importantly,
love prevail in business; profits will inevitably follow.”

Meet Edition Milano, designers and creators of furniture, lighting and objects. Discover more about their inspiration, background and view their work at Curio. 

Edition Milano, Designers | Contemporary Furniture & Lighting | Curio

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The Italian-made objects, furniture and lighting that Editions Milano produces are made by a network of local artisans using traditional craft techniques applied in new and contemporary ways. 

The brand strives to use Italian materials such as marbles quarried in the regions of Tuscany and Liguria; mouth-blown stained glass skillfully crafted by Lombard artisans who have handed down this antique art for generations; cane furniture made in the northern region of Veneto and fringes made by hand by historic Milanese trimmings workshops.

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Editions Milano

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Milanese studio Editions Milano produces Italian-made objects, furniture and lighting authored by some of the biggest names in design. The studio's contemporary pieces – including objects, lighting, tableware and furniture – are made using traditional techniques and local materials such as marble, porcelain, wood and stained glass.

editions

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View Milano's contemporary furniture, lighting and objects crafted in Italy. Find items in Italian marble, mouthblown glass from Lombard and more. Explore now.

Edition Milano, Contemporary Furniture, Lighting & Objects | Curio

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Founded in 2016, Editions Milano was born out of a passion for design and love of Italian craftsmanship. Its collections are authored by an impressive team of international design talents, including Patricia Urquiola, nendo, Alessandra Facchinetti, Bethan Gray, Cristina Celestino, david/nicolas, Federico Pepe and Lorenza Bozzoli, to name but a few.

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Each product in the Editions Milano collection is produced in Italy with local raw materials. This is a significant added value for those who seek for quality and uniqueness.

Meet Formaminima, Italian designers creating minimalist and high-quality home products including lamps and mirrors in collaboration with artisans. Find out more.

Formaminima, Design Brand | Minimalist Lamps & Mirrors | Curio

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Taking traditional craft skills as a starting point, Formaminima’s products feature sleek, contemporary forms that emphasise the fine detailing of their construction. A limited material palette of glass, wood, marble, metal and porcelain is used to craft the objects, which are entirely made in Italy. The minimalist forms allow the materials to dazzle and intrigue, with layering effects or gradient finishes adding character to Formaminima’s compelling collection.

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Formaminima is an Italian design brand that produces minimalist lighting and decorative objects using premium materials and the finest Made in Italy craftsmanship.

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View Formaminima's distinctive minimalist lighting, lamps and decorative objects designed in Italy and crafted with premium materials. Explore now. 

Formaminima | Minimalist Lighting & Decorative Objects | Curio

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Formaminima launched in 2018 with its decorative handcrafted Lamp/One suspension light. The company is headed by creative director Caterina Vrabec, who oversees the design of the bold and innovative collection. Formaminima has featured in several important design publications and is represented by leading international galleries.

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Through the accurate creation of minimal objects able to inspire and intrigue, Formaminima is aimed at those admirers of an essential, sober and functional design.

Meet Marta Sala, creating furniture in exclusive fabrics, marble or rare materials. Discover more about her inspiration, background and view her work at Curio. 

Marta Sala, Furniture Maker | Unique Furniture Design | Curio

Seeking to create global pieces, Marta crosses borders and boundaries to source exclusive fabrics, fine marble and certified materials. Drawing upon her long-standing connections, Marta works exclusively with the finest artisans.

Marta always works on collections rather than single pieces and bases each edition on a specific inspirational theme. Her objective is to create custom-made products of exceptional quality that can be reproduced in quantity. The resulting chairs, tables, sofas and lamps can be found in luxurious interiors around the world.

Marta Sala Éditions

Furniture studio Marta Sala Éditions was founded in 2015 by Marta Sala. Renowned for a sense of refined elegance, MSE evokes memories of timeless glamour.

Marta studied architecture and philosophy, later working in the family business, the renowned Italian furniture group, Azucena.

We have to create nomadic, high-quality objects with a freedom of use that suits every client.

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