AD长期以来,可汗pioned the work of independent makers, whose cutting-edge creations offer new windows into the world of craft. These 16 women, previously profiled in our pages and online, are making a name for themselves in their chosen mediums, whether they construct handwoven rugs, anthropomorphic lamps, or bewitching light fixtures. Sourced by some of the biggest interior designers in the business, these makers are likely already on your radar. If not, it’s time to get caught up. Here are their stories.
“It all starts with shape and color,” says this rising-star French ceramistAlice Gavalet。我使用knifelike工具,她片陶器nto flat forms that she then hand-assembles into three dimensions, firing the results before painting them with colorful enamels for one last bake, all in her petite workshop just outside Paris. The wild and whimsical pieces (squiggly striped vases, mirrors outlined in zany shapes) take inspiration from Ettore Sottsass’s playful objects, Jean Dubuffet’s graphic compositions, and her nine-year-old daughter’s spontaneous drawings.
Gavalet的承认,她自己的作品and heavy—aren’t exactly practical, but, she says, “I consider them sculptures that can be used.” It’s an idea she undoubtedly gleaned from the 10 years and counting she has worked as an assistant to the legendary furniture designer Elizabeth Garouste, known for her spirited takes on functional objects.instagram.com/alicegavalet
Anna Karlinhas always followed her instincts. Just two days after starting a job at a big-time London design firm in 2006, she quit. Four years later, she moved across the Atlantic to Manhattan to set up her own art-direction firm, and a few years later, in 2012, dared to create a line of furniture. Each risk produced reward: Her art-direction business has landed clients like Adidas, Lululemon, and Fendi. And her product line—which started with sleek glassware, a hoop-shaped light, and some chess-piece stools—has captivated the design world. Now, from a moody studio-slash-showroom in Chinatown, her sculptural furniture, lighting, and accessories have become new classics.annakarlin.com
After years working on the corporate side of the fashion industry,Arati Raoneeded a change. “I felt disconnected from the process of making,” explains the New York–based designer, who quit her job in 2009 and headed to India, her family’s homeland, to explore its rich craft culture. “People can make anything there,” she marvels. “You just have to find it.” Founded in 2012, her own brand, Tantuvi (it means “weaver” in Sanskrit), has quickly segued from textiles to rugs and other home products. Rather than producing the wares in factories, Rao tapped cottage industry workers in Rajasthan and Telangana to create graphic dhurries and rugs. Natural fibers are dyed by a family in Jaipur before being sent to villages in Rajasthan’s Thar Desert, where they are woven on panja looms.tantuvistudio.com
Bec Brittainhas an impressive pedigree: She was lighting designer Lindsey Adelman’s first paid employee. (“New York’s lighting scene is like a family tree,” she explains.) But since going solo in 2011, Brittain has quickly established her own branch. Her flexible SHY light system—an infinitely reconfigurable constellation of LED tubes and metal rods—has become her own lighting-world claim to fame, winning her the attention of clients ranging from Mike D of the Beastie Boys to J.P. Morgan. More recently, she has pivoted into a more collectible, commission-based practice.becbrittain.com
“We’re a family business on both sides of production,” says Lily Stockman, who cofounded a hit textiles line with sister Hopie and works with five family-run studios in India to realize their hand-block-printed patterns. After starting with graphic scarves in 2013,Block Shophas expanded into a home collection that includes pillows, bedding, rugs, and fabric by the yard. Marked by eye-popping geometric motifs and sunny SoCal palettes, it’s all on display at their Los Angeles showroom.blockshoptextiles.com
Carmen D’Apolloniooften works solo, but she never gets lonely in her Los Angeles studio, where she’s surrounded by ceramic lamps and vessels in progress, many of them people-size. “They become a bit human,” she says of her inanimate companions—some of them anthropomorphic, others vaguely figurative. “They’re like a little family.”
D’Apollonio’s ceramics practice began eight years ago, when she signed up for an introductory course in traditional Japanese raku pottery in her native Switzerland. After relocating to L.A. in 2014, she landed a high-profile commission: The French fashion brand Céline requested three ceramic displays for an advertising campaign. The work evolved naturally from there—a continuation of a process that, she insists, “is actually very simple.” First she draws her ideas; then she coils the clay into the desired form. “I don’t have any structure,” she notes of her entirely hand-built technique. “Whatever I want to do, I do.”carmendapollonio.com
“在加纳,如果有人穿特定颜色or patterns, I’ll know whether they’re grieving a loved one or if the person is elderly or young,” says designerChrissa Amuah。"There is a culture of giving names to fabrics that convey sentiments, wisdoms, even humor.” The London-born talent, Ghanaian by descent, has long been inspired by adinkra, the vast lexicon of symbols that has been incorporated into local pottery, architecture, and textiles for centuries. She celebrated those motifs in Duality, her first collection of fabrics for Bernhardt Textiles.