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Not furniture. Characters.
Zeynep Satık founded Animate Objects in 2022 with one premise: that an interior should feel staged, not merely styled. Her background in Performance Design at Central Saint Martins shows in every piece - The Deramo Lamp reads like a portrait. The Lucia Side Table like a shadow. The Isabella like something that arrived from somewhere else entirely.

Named Dwell’s Best Designer of 2023. Featured in AD and Forbes. This is design with a point of view.

➜ Swipe to see the full collection.

#AnimateObjects #ZeynepSatik #CollectibleDesign #BeyondAndMore #MeetTheMaker

Not furniture. Characters.
Zeynep Satık founded Animate Objects in 2022 with one premise: that an interior should feel staged, not merely styled. Her background in Performance Design at Central Saint Martins shows in every piece - The Deramo Lamp reads like a portrait. The Lucia Side Table like a shadow. The Isabella like something that arrived from somewhere else entirely.

Named Dwell’s Best Designer of 2023. Featured in AD and Forbes. This is design with a point of view.

➜ Swipe to see the full collection.

#AnimateObjects #ZeynepSatik #CollectibleDesign #BeyondAndMore #MeetTheMaker

Not furniture. Characters.
Zeynep Satık founded Animate Objects in 2022 with one premise: that an interior should feel staged, not merely styled. Her background in Performance Design at Central Saint Martins shows in every piece - The Deramo Lamp reads like a portrait. The Lucia Side Table like a shadow. The Isabella like something that arrived from somewhere else entirely.

Named Dwell’s Best Designer of 2023. Featured in AD and Forbes. This is design with a point of view.

➜ Swipe to see the full collection.

#AnimateObjects #ZeynepSatik #CollectibleDesign #BeyondAndMore #MeetTheMaker

Not furniture. Characters.
Zeynep Satık founded Animate Objects in 2022 with one premise: that an interior should feel staged, not merely styled. Her background in Performance Design at Central Saint Martins shows in every piece - The Deramo Lamp reads like a portrait. The Lucia Side Table like a shadow. The Isabella like something that arrived from somewhere else entirely.

Named Dwell’s Best Designer of 2023. Featured in AD and Forbes. This is design with a point of view.

➜ Swipe to see the full collection.

#AnimateObjects #ZeynepSatik #CollectibleDesign #BeyondAndMore #MeetTheMaker

Not furniture. Characters.
Zeynep Satık founded Animate Objects in 2022 with one premise: that an interior should feel staged, not merely styled. Her background in Performance Design at Central Saint Martins shows in every piece - The Deramo Lamp reads like a portrait. The Lucia Side Table like a shadow. The Isabella like something that arrived from somewhere else entirely.

Named Dwell’s Best Designer of 2023. Featured in AD and Forbes. This is design with a point of view.

➜ Swipe to see the full collection.

#AnimateObjects #ZeynepSatik #CollectibleDesign #BeyondAndMore #MeetTheMaker

Not furniture. Characters.
Zeynep Satık founded Animate Objects in 2022 with one premise: that an interior should feel staged, not merely styled. Her background in Performance Design at Central Saint Martins shows in every piece - The Deramo Lamp reads like a portrait. The Lucia Side Table like a shadow. The Isabella like something that arrived from somewhere else entirely.

Named Dwell’s Best Designer of 2023. Featured in AD and Forbes. This is design with a point of view.

➜ Swipe to see the full collection.

#AnimateObjects #ZeynepSatik #CollectibleDesign #BeyondAndMore #MeetTheMaker

Not furniture. Characters.
Zeynep Satık founded Animate Objects in 2022 with one premise: that an interior should feel staged, not merely styled. Her background in Performance Design at Central Saint Martins shows in every piece - The Deramo Lamp reads like a portrait. The Lucia Side Table like a shadow. The Isabella like something that arrived from somewhere else entirely.

Named Dwell’s Best Designer of 2023. Featured in AD and Forbes. This is design with a point of view.

➜ Swipe to see the full collection.

#AnimateObjects #ZeynepSatik #CollectibleDesign #BeyondAndMore #MeetTheMaker

Not furniture. Characters.
Zeynep Satık founded Animate Objects in 2022 with one premise: that an interior should feel staged, not merely styled. Her background in Performance Design at Central Saint Martins shows in every piece - The Deramo Lamp reads like a portrait. The Lucia Side Table like a shadow. The Isabella like something that arrived from somewhere else entirely.

Named Dwell’s Best Designer of 2023. Featured in AD and Forbes. This is design with a point of view.

➜ Swipe to see the full collection.

#AnimateObjects #ZeynepSatik #CollectibleDesign #BeyondAndMore #MeetTheMaker

Not furniture. Characters.
Zeynep Satık founded Animate Objects in 2022 with one premise: that an interior should feel staged, not merely styled. Her background in Performance Design at Central Saint Martins shows in every piece - The Deramo Lamp reads like a portrait. The Lucia Side Table like a shadow. The Isabella like something that arrived from somewhere else entirely.

Named Dwell’s Best Designer of 2023. Featured in AD and Forbes. This is design with a point of view.

➜ Swipe to see the full collection.

#AnimateObjects #ZeynepSatik #CollectibleDesign #BeyondAndMore #MeetTheMaker

Not furniture. Characters.
Zeynep Satık founded Animate Objects in 2022 with one premise: that an interior should feel staged, not merely styled. Her background in Performance Design at Central Saint Martins shows in every piece - The Deramo Lamp reads like a portrait. The Lucia Side Table like a shadow. The Isabella like something that arrived from somewhere else entirely.

Named Dwell’s Best Designer of 2023. Featured in AD and Forbes. This is design with a point of view.

➜ Swipe to see the full collection.

#AnimateObjects #ZeynepSatik #CollectibleDesign #BeyondAndMore #MeetTheMaker

Not furniture. Characters.
Zeynep Satık founded Animate Objects in 2022 with one premise: that an interior should feel staged, not merely styled. Her background in Performance Design at Central Saint Martins shows in every piece - The Deramo Lamp reads like a portrait. The Lucia Side Table like a shadow. The Isabella like something that arrived from somewhere else entirely.

Named Dwell’s Best Designer of 2023. Featured in AD and Forbes. This is design with a point of view.

➜ Swipe to see the full collection.

#AnimateObjects #ZeynepSatik #CollectibleDesign #BeyondAndMore #MeetTheMaker

Not furniture. Characters.
Zeynep Satık founded Animate Objects in 2022 with one premise: that an interior should feel staged, not merely styled. Her background in Performance Design at Central Saint Martins shows in every piece - The Deramo Lamp reads like a portrait. The Lucia Side Table like a shadow. The Isabella like something that arrived from somewhere else entirely.

Named Dwell’s Best Designer of 2023. Featured in AD and Forbes. This is design with a point of view.

➜ Swipe to see the full collection.

#AnimateObjects #ZeynepSatik #CollectibleDesign #BeyondAndMore #MeetTheMaker

A bookshelf rarely remains just a bookshelf.
Over time, it becomes a reflection of the room around it - and the people within it.

Some bring structure and restraint. Others introduce rhythm, asymmetry, and movement. Some almost disappear into the architecture, while others become sculptural statements in their own right.

What makes these pieces timeless is not just storage, but presence. The way they frame objects, hold memories, create pauses, and quietly define how a living space feels.

From the precision of Dieter Rams to the playful geometry of Charlotte Perriand and the expressive forms of Franco Albini, each bookshelf here approaches function through a completely different lens.

Which one would define your living room best?

A bookshelf rarely remains just a bookshelf.
Over time, it becomes a reflection of the room around it - and the people within it.

Some bring structure and restraint. Others introduce rhythm, asymmetry, and movement. Some almost disappear into the architecture, while others become sculptural statements in their own right.

What makes these pieces timeless is not just storage, but presence. The way they frame objects, hold memories, create pauses, and quietly define how a living space feels.

From the precision of Dieter Rams to the playful geometry of Charlotte Perriand and the expressive forms of Franco Albini, each bookshelf here approaches function through a completely different lens.

Which one would define your living room best?

A bookshelf rarely remains just a bookshelf.
Over time, it becomes a reflection of the room around it - and the people within it.

Some bring structure and restraint. Others introduce rhythm, asymmetry, and movement. Some almost disappear into the architecture, while others become sculptural statements in their own right.

What makes these pieces timeless is not just storage, but presence. The way they frame objects, hold memories, create pauses, and quietly define how a living space feels.

From the precision of Dieter Rams to the playful geometry of Charlotte Perriand and the expressive forms of Franco Albini, each bookshelf here approaches function through a completely different lens.

Which one would define your living room best?

A bookshelf rarely remains just a bookshelf.
Over time, it becomes a reflection of the room around it - and the people within it.

Some bring structure and restraint. Others introduce rhythm, asymmetry, and movement. Some almost disappear into the architecture, while others become sculptural statements in their own right.

What makes these pieces timeless is not just storage, but presence. The way they frame objects, hold memories, create pauses, and quietly define how a living space feels.

From the precision of Dieter Rams to the playful geometry of Charlotte Perriand and the expressive forms of Franco Albini, each bookshelf here approaches function through a completely different lens.

Which one would define your living room best?

A bookshelf rarely remains just a bookshelf.
Over time, it becomes a reflection of the room around it - and the people within it.

Some bring structure and restraint. Others introduce rhythm, asymmetry, and movement. Some almost disappear into the architecture, while others become sculptural statements in their own right.

What makes these pieces timeless is not just storage, but presence. The way they frame objects, hold memories, create pauses, and quietly define how a living space feels.

From the precision of Dieter Rams to the playful geometry of Charlotte Perriand and the expressive forms of Franco Albini, each bookshelf here approaches function through a completely different lens.

Which one would define your living room best?

A bookshelf rarely remains just a bookshelf.
Over time, it becomes a reflection of the room around it - and the people within it.

Some bring structure and restraint. Others introduce rhythm, asymmetry, and movement. Some almost disappear into the architecture, while others become sculptural statements in their own right.

What makes these pieces timeless is not just storage, but presence. The way they frame objects, hold memories, create pauses, and quietly define how a living space feels.

From the precision of Dieter Rams to the playful geometry of Charlotte Perriand and the expressive forms of Franco Albini, each bookshelf here approaches function through a completely different lens.

Which one would define your living room best?

A bookshelf rarely remains just a bookshelf.
Over time, it becomes a reflection of the room around it - and the people within it.

Some bring structure and restraint. Others introduce rhythm, asymmetry, and movement. Some almost disappear into the architecture, while others become sculptural statements in their own right.

What makes these pieces timeless is not just storage, but presence. The way they frame objects, hold memories, create pauses, and quietly define how a living space feels.

From the precision of Dieter Rams to the playful geometry of Charlotte Perriand and the expressive forms of Franco Albini, each bookshelf here approaches function through a completely different lens.

Which one would define your living room best?

A bookshelf rarely remains just a bookshelf.
Over time, it becomes a reflection of the room around it - and the people within it.

Some bring structure and restraint. Others introduce rhythm, asymmetry, and movement. Some almost disappear into the architecture, while others become sculptural statements in their own right.

What makes these pieces timeless is not just storage, but presence. The way they frame objects, hold memories, create pauses, and quietly define how a living space feels.

From the precision of Dieter Rams to the playful geometry of Charlotte Perriand and the expressive forms of Franco Albini, each bookshelf here approaches function through a completely different lens.

Which one would define your living room best?

A bookshelf rarely remains just a bookshelf.
Over time, it becomes a reflection of the room around it - and the people within it.

Some bring structure and restraint. Others introduce rhythm, asymmetry, and movement. Some almost disappear into the architecture, while others become sculptural statements in their own right.

What makes these pieces timeless is not just storage, but presence. The way they frame objects, hold memories, create pauses, and quietly define how a living space feels.

From the precision of Dieter Rams to the playful geometry of Charlotte Perriand and the expressive forms of Franco Albini, each bookshelf here approaches function through a completely different lens.

Which one would define your living room best?

Not every object is designed to simply exist in a room.
Some arrive with presence.

Founded by Istanbul-based designer Zeynep Satık, @animateobjects_ moves between furniture, sculpture, performance, and storytelling - creating pieces that feel less like products and more like characters within a space.

With a background in Performance Design from Central Saint Martins, Satık approaches design through narrative, emotion, and theatricality. The result is a body of work where form carries personality, material carries mood, and interiors begin to feel almost staged in the most intentional way.

There is a certain freedom in the work - sculptural yet functional, imaginative yet precise. A reminder that furniture does not always have to behave conventionally to belong beautifully within a space.

Not every object is designed to simply exist in a room.
Some arrive with presence.

Founded by Istanbul-based designer Zeynep Satık, @animateobjects_ moves between furniture, sculpture, performance, and storytelling - creating pieces that feel less like products and more like characters within a space.

With a background in Performance Design from Central Saint Martins, Satık approaches design through narrative, emotion, and theatricality. The result is a body of work where form carries personality, material carries mood, and interiors begin to feel almost staged in the most intentional way.

There is a certain freedom in the work - sculptural yet functional, imaginative yet precise. A reminder that furniture does not always have to behave conventionally to belong beautifully within a space.

Not every object is designed to simply exist in a room.
Some arrive with presence.

Founded by Istanbul-based designer Zeynep Satık, @animateobjects_ moves between furniture, sculpture, performance, and storytelling - creating pieces that feel less like products and more like characters within a space.

With a background in Performance Design from Central Saint Martins, Satık approaches design through narrative, emotion, and theatricality. The result is a body of work where form carries personality, material carries mood, and interiors begin to feel almost staged in the most intentional way.

There is a certain freedom in the work - sculptural yet functional, imaginative yet precise. A reminder that furniture does not always have to behave conventionally to belong beautifully within a space.

Not every object is designed to simply exist in a room.
Some arrive with presence.

Founded by Istanbul-based designer Zeynep Satık, @animateobjects_ moves between furniture, sculpture, performance, and storytelling - creating pieces that feel less like products and more like characters within a space.

With a background in Performance Design from Central Saint Martins, Satık approaches design through narrative, emotion, and theatricality. The result is a body of work where form carries personality, material carries mood, and interiors begin to feel almost staged in the most intentional way.

There is a certain freedom in the work - sculptural yet functional, imaginative yet precise. A reminder that furniture does not always have to behave conventionally to belong beautifully within a space.

Not every object is designed to simply exist in a room.
Some arrive with presence.

Founded by Istanbul-based designer Zeynep Satık, @animateobjects_ moves between furniture, sculpture, performance, and storytelling - creating pieces that feel less like products and more like characters within a space.

With a background in Performance Design from Central Saint Martins, Satık approaches design through narrative, emotion, and theatricality. The result is a body of work where form carries personality, material carries mood, and interiors begin to feel almost staged in the most intentional way.

There is a certain freedom in the work - sculptural yet functional, imaginative yet precise. A reminder that furniture does not always have to behave conventionally to belong beautifully within a space.

Not every object is designed to simply exist in a room.
Some arrive with presence.

Founded by Istanbul-based designer Zeynep Satık, @animateobjects_ moves between furniture, sculpture, performance, and storytelling - creating pieces that feel less like products and more like characters within a space.

With a background in Performance Design from Central Saint Martins, Satık approaches design through narrative, emotion, and theatricality. The result is a body of work where form carries personality, material carries mood, and interiors begin to feel almost staged in the most intentional way.

There is a certain freedom in the work - sculptural yet functional, imaginative yet precise. A reminder that furniture does not always have to behave conventionally to belong beautifully within a space.

Not every object is designed to simply exist in a room.
Some arrive with presence.

Founded by Istanbul-based designer Zeynep Satık, @animateobjects_ moves between furniture, sculpture, performance, and storytelling - creating pieces that feel less like products and more like characters within a space.

With a background in Performance Design from Central Saint Martins, Satık approaches design through narrative, emotion, and theatricality. The result is a body of work where form carries personality, material carries mood, and interiors begin to feel almost staged in the most intentional way.

There is a certain freedom in the work - sculptural yet functional, imaginative yet precise. A reminder that furniture does not always have to behave conventionally to belong beautifully within a space.

Not every object is designed to simply exist in a room.
Some arrive with presence.

Founded by Istanbul-based designer Zeynep Satık, @animateobjects_ moves between furniture, sculpture, performance, and storytelling - creating pieces that feel less like products and more like characters within a space.

With a background in Performance Design from Central Saint Martins, Satık approaches design through narrative, emotion, and theatricality. The result is a body of work where form carries personality, material carries mood, and interiors begin to feel almost staged in the most intentional way.

There is a certain freedom in the work - sculptural yet functional, imaginative yet precise. A reminder that furniture does not always have to behave conventionally to belong beautifully within a space.

Not every object is designed to simply exist in a room.
Some arrive with presence.

Founded by Istanbul-based designer Zeynep Satık, @animateobjects_ moves between furniture, sculpture, performance, and storytelling - creating pieces that feel less like products and more like characters within a space.

With a background in Performance Design from Central Saint Martins, Satık approaches design through narrative, emotion, and theatricality. The result is a body of work where form carries personality, material carries mood, and interiors begin to feel almost staged in the most intentional way.

There is a certain freedom in the work - sculptural yet functional, imaginative yet precise. A reminder that furniture does not always have to behave conventionally to belong beautifully within a space.

The Dozie Kanu Table Collection for @knoll by @dozie.kanu feels suspended somewhere between furniture, fashion, and cultural memory.

Wrapped in long leather tassels that shift with movement, the pieces carry an almost cinematic presence - as though they were designed to move through a room rather than simply sit within it.

What makes the collection powerful is the tension it holds. There is softness, but also structure. Craftsmanship, but also rebellion. The silhouettes feel refined, yet deeply personal - shaped by music, identity, sculpture, and the layered references of Kanu’s upbringing.

Even in stillness, the pieces feel alive.

A reminder that some objects are not designed merely for function. They are designed to carry attitude, rhythm, and memory into a space.

The Dozie Kanu Table Collection for @knoll by @dozie.kanu feels suspended somewhere between furniture, fashion, and cultural memory.

Wrapped in long leather tassels that shift with movement, the pieces carry an almost cinematic presence - as though they were designed to move through a room rather than simply sit within it.

What makes the collection powerful is the tension it holds. There is softness, but also structure. Craftsmanship, but also rebellion. The silhouettes feel refined, yet deeply personal - shaped by music, identity, sculpture, and the layered references of Kanu’s upbringing.

Even in stillness, the pieces feel alive.

A reminder that some objects are not designed merely for function. They are designed to carry attitude, rhythm, and memory into a space.

The Dozie Kanu Table Collection for @knoll by @dozie.kanu feels suspended somewhere between furniture, fashion, and cultural memory.

Wrapped in long leather tassels that shift with movement, the pieces carry an almost cinematic presence - as though they were designed to move through a room rather than simply sit within it.

What makes the collection powerful is the tension it holds. There is softness, but also structure. Craftsmanship, but also rebellion. The silhouettes feel refined, yet deeply personal - shaped by music, identity, sculpture, and the layered references of Kanu’s upbringing.

Even in stillness, the pieces feel alive.

A reminder that some objects are not designed merely for function. They are designed to carry attitude, rhythm, and memory into a space.

The Dozie Kanu Table Collection for @knoll by @dozie.kanu feels suspended somewhere between furniture, fashion, and cultural memory.

Wrapped in long leather tassels that shift with movement, the pieces carry an almost cinematic presence - as though they were designed to move through a room rather than simply sit within it.

What makes the collection powerful is the tension it holds. There is softness, but also structure. Craftsmanship, but also rebellion. The silhouettes feel refined, yet deeply personal - shaped by music, identity, sculpture, and the layered references of Kanu’s upbringing.

Even in stillness, the pieces feel alive.

A reminder that some objects are not designed merely for function. They are designed to carry attitude, rhythm, and memory into a space.

The Dozie Kanu Table Collection for @knoll by @dozie.kanu feels suspended somewhere between furniture, fashion, and cultural memory.

Wrapped in long leather tassels that shift with movement, the pieces carry an almost cinematic presence - as though they were designed to move through a room rather than simply sit within it.

What makes the collection powerful is the tension it holds. There is softness, but also structure. Craftsmanship, but also rebellion. The silhouettes feel refined, yet deeply personal - shaped by music, identity, sculpture, and the layered references of Kanu’s upbringing.

Even in stillness, the pieces feel alive.

A reminder that some objects are not designed merely for function. They are designed to carry attitude, rhythm, and memory into a space.

The Dozie Kanu Table Collection for @knoll by @dozie.kanu feels suspended somewhere between furniture, fashion, and cultural memory.

Wrapped in long leather tassels that shift with movement, the pieces carry an almost cinematic presence - as though they were designed to move through a room rather than simply sit within it.

What makes the collection powerful is the tension it holds. There is softness, but also structure. Craftsmanship, but also rebellion. The silhouettes feel refined, yet deeply personal - shaped by music, identity, sculpture, and the layered references of Kanu’s upbringing.

Even in stillness, the pieces feel alive.

A reminder that some objects are not designed merely for function. They are designed to carry attitude, rhythm, and memory into a space.

Some designers create objects.
Some create a world around them.

@pierre.yovanovitch belongs to the second category.

There’s a softness to his work that never feels fragile. Sculptural forms that still feel warm. Minimal spaces that never feel cold. Every piece carries a sense of restraint, but also personality - almost as if the furniture was designed to quietly coexist with the people living around it.

What makes his work so compelling is that nothing screams for attention, yet everything feels deeply considered. The curves. The proportions. The textures. The humour hidden within form. Even his most playful pieces still carry architectural discipline.

A reminder that great design does not always need excess to leave an impression. Sometimes, it is the quietest objects in the room that stay with you the longest.

Some designers create objects.
Some create a world around them.

@pierre.yovanovitch belongs to the second category.

There’s a softness to his work that never feels fragile. Sculptural forms that still feel warm. Minimal spaces that never feel cold. Every piece carries a sense of restraint, but also personality - almost as if the furniture was designed to quietly coexist with the people living around it.

What makes his work so compelling is that nothing screams for attention, yet everything feels deeply considered. The curves. The proportions. The textures. The humour hidden within form. Even his most playful pieces still carry architectural discipline.

A reminder that great design does not always need excess to leave an impression. Sometimes, it is the quietest objects in the room that stay with you the longest.

Some designers create objects.
Some create a world around them.

@pierre.yovanovitch belongs to the second category.

There’s a softness to his work that never feels fragile. Sculptural forms that still feel warm. Minimal spaces that never feel cold. Every piece carries a sense of restraint, but also personality - almost as if the furniture was designed to quietly coexist with the people living around it.

What makes his work so compelling is that nothing screams for attention, yet everything feels deeply considered. The curves. The proportions. The textures. The humour hidden within form. Even his most playful pieces still carry architectural discipline.

A reminder that great design does not always need excess to leave an impression. Sometimes, it is the quietest objects in the room that stay with you the longest.

Some designers create objects.
Some create a world around them.

@pierre.yovanovitch belongs to the second category.

There’s a softness to his work that never feels fragile. Sculptural forms that still feel warm. Minimal spaces that never feel cold. Every piece carries a sense of restraint, but also personality - almost as if the furniture was designed to quietly coexist with the people living around it.

What makes his work so compelling is that nothing screams for attention, yet everything feels deeply considered. The curves. The proportions. The textures. The humour hidden within form. Even his most playful pieces still carry architectural discipline.

A reminder that great design does not always need excess to leave an impression. Sometimes, it is the quietest objects in the room that stay with you the longest.

Some designers create objects.
Some create a world around them.

@pierre.yovanovitch belongs to the second category.

There’s a softness to his work that never feels fragile. Sculptural forms that still feel warm. Minimal spaces that never feel cold. Every piece carries a sense of restraint, but also personality - almost as if the furniture was designed to quietly coexist with the people living around it.

What makes his work so compelling is that nothing screams for attention, yet everything feels deeply considered. The curves. The proportions. The textures. The humour hidden within form. Even his most playful pieces still carry architectural discipline.

A reminder that great design does not always need excess to leave an impression. Sometimes, it is the quietest objects in the room that stay with you the longest.

Some designers create objects.
Some create a world around them.

@pierre.yovanovitch belongs to the second category.

There’s a softness to his work that never feels fragile. Sculptural forms that still feel warm. Minimal spaces that never feel cold. Every piece carries a sense of restraint, but also personality - almost as if the furniture was designed to quietly coexist with the people living around it.

What makes his work so compelling is that nothing screams for attention, yet everything feels deeply considered. The curves. The proportions. The textures. The humour hidden within form. Even his most playful pieces still carry architectural discipline.

A reminder that great design does not always need excess to leave an impression. Sometimes, it is the quietest objects in the room that stay with you the longest.

Some designers create objects.
Some create a world around them.

@pierre.yovanovitch belongs to the second category.

There’s a softness to his work that never feels fragile. Sculptural forms that still feel warm. Minimal spaces that never feel cold. Every piece carries a sense of restraint, but also personality - almost as if the furniture was designed to quietly coexist with the people living around it.

What makes his work so compelling is that nothing screams for attention, yet everything feels deeply considered. The curves. The proportions. The textures. The humour hidden within form. Even his most playful pieces still carry architectural discipline.

A reminder that great design does not always need excess to leave an impression. Sometimes, it is the quietest objects in the room that stay with you the longest.

Some designers create objects.
Some create a world around them.

@pierre.yovanovitch belongs to the second category.

There’s a softness to his work that never feels fragile. Sculptural forms that still feel warm. Minimal spaces that never feel cold. Every piece carries a sense of restraint, but also personality - almost as if the furniture was designed to quietly coexist with the people living around it.

What makes his work so compelling is that nothing screams for attention, yet everything feels deeply considered. The curves. The proportions. The textures. The humour hidden within form. Even his most playful pieces still carry architectural discipline.

A reminder that great design does not always need excess to leave an impression. Sometimes, it is the quietest objects in the room that stay with you the longest.

Some designers create objects.
Some create a world around them.

@pierre.yovanovitch belongs to the second category.

There’s a softness to his work that never feels fragile. Sculptural forms that still feel warm. Minimal spaces that never feel cold. Every piece carries a sense of restraint, but also personality - almost as if the furniture was designed to quietly coexist with the people living around it.

What makes his work so compelling is that nothing screams for attention, yet everything feels deeply considered. The curves. The proportions. The textures. The humour hidden within form. Even his most playful pieces still carry architectural discipline.

A reminder that great design does not always need excess to leave an impression. Sometimes, it is the quietest objects in the room that stay with you the longest.

Some designers create objects.
Some create a world around them.

@pierre.yovanovitch belongs to the second category.

There’s a softness to his work that never feels fragile. Sculptural forms that still feel warm. Minimal spaces that never feel cold. Every piece carries a sense of restraint, but also personality - almost as if the furniture was designed to quietly coexist with the people living around it.

What makes his work so compelling is that nothing screams for attention, yet everything feels deeply considered. The curves. The proportions. The textures. The humour hidden within form. Even his most playful pieces still carry architectural discipline.

A reminder that great design does not always need excess to leave an impression. Sometimes, it is the quietest objects in the room that stay with you the longest.

Some designers create objects.
Some create a world around them.

@pierre.yovanovitch belongs to the second category.

There’s a softness to his work that never feels fragile. Sculptural forms that still feel warm. Minimal spaces that never feel cold. Every piece carries a sense of restraint, but also personality - almost as if the furniture was designed to quietly coexist with the people living around it.

What makes his work so compelling is that nothing screams for attention, yet everything feels deeply considered. The curves. The proportions. The textures. The humour hidden within form. Even his most playful pieces still carry architectural discipline.

A reminder that great design does not always need excess to leave an impression. Sometimes, it is the quietest objects in the room that stay with you the longest.

The smallest pieces in a room are often the ones that make it feel complete.

A side table is rarely just functional. It becomes the quiet pause beside a sofa, the place where daily rituals settle, and the element that brings balance to the larger composition of a space.

Small in scale, but never insignificant.

The smallest pieces in a room are often the ones that make it feel complete.

A side table is rarely just functional. It becomes the quiet pause beside a sofa, the place where daily rituals settle, and the element that brings balance to the larger composition of a space.

Small in scale, but never insignificant.

The smallest pieces in a room are often the ones that make it feel complete.

A side table is rarely just functional. It becomes the quiet pause beside a sofa, the place where daily rituals settle, and the element that brings balance to the larger composition of a space.

Small in scale, but never insignificant.

The smallest pieces in a room are often the ones that make it feel complete.

A side table is rarely just functional. It becomes the quiet pause beside a sofa, the place where daily rituals settle, and the element that brings balance to the larger composition of a space.

Small in scale, but never insignificant.

The smallest pieces in a room are often the ones that make it feel complete.

A side table is rarely just functional. It becomes the quiet pause beside a sofa, the place where daily rituals settle, and the element that brings balance to the larger composition of a space.

Small in scale, but never insignificant.

The smallest pieces in a room are often the ones that make it feel complete.

A side table is rarely just functional. It becomes the quiet pause beside a sofa, the place where daily rituals settle, and the element that brings balance to the larger composition of a space.

Small in scale, but never insignificant.

The smallest pieces in a room are often the ones that make it feel complete.

A side table is rarely just functional. It becomes the quiet pause beside a sofa, the place where daily rituals settle, and the element that brings balance to the larger composition of a space.

Small in scale, but never insignificant.

The smallest pieces in a room are often the ones that make it feel complete.

A side table is rarely just functional. It becomes the quiet pause beside a sofa, the place where daily rituals settle, and the element that brings balance to the larger composition of a space.

Small in scale, but never insignificant.

The smallest pieces in a room are often the ones that make it feel complete.

A side table is rarely just functional. It becomes the quiet pause beside a sofa, the place where daily rituals settle, and the element that brings balance to the larger composition of a space.

Small in scale, but never insignificant.

The smallest pieces in a room are often the ones that make it feel complete.

A side table is rarely just functional. It becomes the quiet pause beside a sofa, the place where daily rituals settle, and the element that brings balance to the larger composition of a space.

Small in scale, but never insignificant.

The smallest pieces in a room are often the ones that make it feel complete.

A side table is rarely just functional. It becomes the quiet pause beside a sofa, the place where daily rituals settle, and the element that brings balance to the larger composition of a space.

Small in scale, but never insignificant.

The smallest pieces in a room are often the ones that make it feel complete.

A side table is rarely just functional. It becomes the quiet pause beside a sofa, the place where daily rituals settle, and the element that brings balance to the larger composition of a space.

Small in scale, but never insignificant.

The smallest pieces in a room are often the ones that make it feel complete.

A side table is rarely just functional. It becomes the quiet pause beside a sofa, the place where daily rituals settle, and the element that brings balance to the larger composition of a space.

Small in scale, but never insignificant.

@objectsandideas | The Name Says Everything

Di Tao and Bob Dodd founded the Toronto studio in 2015 with one mission - to find a voice in every design. To make pieces that speak for themselves. That inspire people to use, love, and touch them every day.

Quiet objects. Significant presence.

@objectsandideas | The Name Says Everything

Di Tao and Bob Dodd founded the Toronto studio in 2015 with one mission - to find a voice in every design. To make pieces that speak for themselves. That inspire people to use, love, and touch them every day.

Quiet objects. Significant presence.

@objectsandideas | The Name Says Everything

Di Tao and Bob Dodd founded the Toronto studio in 2015 with one mission - to find a voice in every design. To make pieces that speak for themselves. That inspire people to use, love, and touch them every day.

Quiet objects. Significant presence.

@objectsandideas | The Name Says Everything

Di Tao and Bob Dodd founded the Toronto studio in 2015 with one mission - to find a voice in every design. To make pieces that speak for themselves. That inspire people to use, love, and touch them every day.

Quiet objects. Significant presence.

@objectsandideas | The Name Says Everything

Di Tao and Bob Dodd founded the Toronto studio in 2015 with one mission - to find a voice in every design. To make pieces that speak for themselves. That inspire people to use, love, and touch them every day.

Quiet objects. Significant presence.

@objectsandideas | The Name Says Everything

Di Tao and Bob Dodd founded the Toronto studio in 2015 with one mission - to find a voice in every design. To make pieces that speak for themselves. That inspire people to use, love, and touch them every day.

Quiet objects. Significant presence.

@objectsandideas | The Name Says Everything

Di Tao and Bob Dodd founded the Toronto studio in 2015 with one mission - to find a voice in every design. To make pieces that speak for themselves. That inspire people to use, love, and touch them every day.

Quiet objects. Significant presence.

@objectsandideas | The Name Says Everything

Di Tao and Bob Dodd founded the Toronto studio in 2015 with one mission - to find a voice in every design. To make pieces that speak for themselves. That inspire people to use, love, and touch them every day.

Quiet objects. Significant presence.

Most beds are designed to disappear into a room.

Faye Toogood built one that refuses to.

The Lie Low is a collaboration between Toogood and @poltronafrauofficial - and the productive tension between their two practices is exactly what makes it work.

Poltrona Frau brings century-old leather craftsmanship and technical rigour. Toogood brings her signature chubby sculpturalism and a deliberate rejection of the formal. The leather is intentionally wrinkled. The contours are generous and rounded, referencing the bold, oversized shapes of 1970s interiors.

The result is a bed Toogood describes simply as one that entirely embraces you.

Not a statement piece. A sanctuary.

Most beds are designed to disappear into a room.

Faye Toogood built one that refuses to.

The Lie Low is a collaboration between Toogood and @poltronafrauofficial - and the productive tension between their two practices is exactly what makes it work.

Poltrona Frau brings century-old leather craftsmanship and technical rigour. Toogood brings her signature chubby sculpturalism and a deliberate rejection of the formal. The leather is intentionally wrinkled. The contours are generous and rounded, referencing the bold, oversized shapes of 1970s interiors.

The result is a bed Toogood describes simply as one that entirely embraces you.

Not a statement piece. A sanctuary.

Most beds are designed to disappear into a room.

Faye Toogood built one that refuses to.

The Lie Low is a collaboration between Toogood and @poltronafrauofficial - and the productive tension between their two practices is exactly what makes it work.

Poltrona Frau brings century-old leather craftsmanship and technical rigour. Toogood brings her signature chubby sculpturalism and a deliberate rejection of the formal. The leather is intentionally wrinkled. The contours are generous and rounded, referencing the bold, oversized shapes of 1970s interiors.

The result is a bed Toogood describes simply as one that entirely embraces you.

Not a statement piece. A sanctuary.

Most beds are designed to disappear into a room.

Faye Toogood built one that refuses to.

The Lie Low is a collaboration between Toogood and @poltronafrauofficial - and the productive tension between their two practices is exactly what makes it work.

Poltrona Frau brings century-old leather craftsmanship and technical rigour. Toogood brings her signature chubby sculpturalism and a deliberate rejection of the formal. The leather is intentionally wrinkled. The contours are generous and rounded, referencing the bold, oversized shapes of 1970s interiors.

The result is a bed Toogood describes simply as one that entirely embraces you.

Not a statement piece. A sanctuary.

Most beds are designed to disappear into a room.

Faye Toogood built one that refuses to.

The Lie Low is a collaboration between Toogood and @poltronafrauofficial - and the productive tension between their two practices is exactly what makes it work.

Poltrona Frau brings century-old leather craftsmanship and technical rigour. Toogood brings her signature chubby sculpturalism and a deliberate rejection of the formal. The leather is intentionally wrinkled. The contours are generous and rounded, referencing the bold, oversized shapes of 1970s interiors.

The result is a bed Toogood describes simply as one that entirely embraces you.

Not a statement piece. A sanctuary.

Most beds are designed to disappear into a room.

Faye Toogood built one that refuses to.

The Lie Low is a collaboration between Toogood and @poltronafrauofficial - and the productive tension between their two practices is exactly what makes it work.

Poltrona Frau brings century-old leather craftsmanship and technical rigour. Toogood brings her signature chubby sculpturalism and a deliberate rejection of the formal. The leather is intentionally wrinkled. The contours are generous and rounded, referencing the bold, oversized shapes of 1970s interiors.

The result is a bed Toogood describes simply as one that entirely embraces you.

Not a statement piece. A sanctuary.

Most beds are designed to disappear into a room.

Faye Toogood built one that refuses to.

The Lie Low is a collaboration between Toogood and @poltronafrauofficial - and the productive tension between their two practices is exactly what makes it work.

Poltrona Frau brings century-old leather craftsmanship and technical rigour. Toogood brings her signature chubby sculpturalism and a deliberate rejection of the formal. The leather is intentionally wrinkled. The contours are generous and rounded, referencing the bold, oversized shapes of 1970s interiors.

The result is a bed Toogood describes simply as one that entirely embraces you.

Not a statement piece. A sanctuary.

Meet The Maker: @iniarchibong

A chair he designed is in the Metropolitan Museum of Art. That is one sentence about Ini Archibong. There are many more.

Nigerian-American. Based in Switzerland. Informed by mathematics, philosophy, and world religions. Working with Hermès, Herman Miller, and institutions that collect design as art.

Every piece from Design by Ini carries the trace of a specific idea, worked through with the kind of rigour most designers reserve for structure alone. The Atlas Series. The Oshun Collection. The Moirai System. Objects that feel inevitable once you are in the same room as them.

Swipe To Meet The Maker ➡️

Meet The Maker: @iniarchibong

A chair he designed is in the Metropolitan Museum of Art. That is one sentence about Ini Archibong. There are many more.

Nigerian-American. Based in Switzerland. Informed by mathematics, philosophy, and world religions. Working with Hermès, Herman Miller, and institutions that collect design as art.

Every piece from Design by Ini carries the trace of a specific idea, worked through with the kind of rigour most designers reserve for structure alone. The Atlas Series. The Oshun Collection. The Moirai System. Objects that feel inevitable once you are in the same room as them.

Swipe To Meet The Maker ➡️

Meet The Maker: @iniarchibong

A chair he designed is in the Metropolitan Museum of Art. That is one sentence about Ini Archibong. There are many more.

Nigerian-American. Based in Switzerland. Informed by mathematics, philosophy, and world religions. Working with Hermès, Herman Miller, and institutions that collect design as art.

Every piece from Design by Ini carries the trace of a specific idea, worked through with the kind of rigour most designers reserve for structure alone. The Atlas Series. The Oshun Collection. The Moirai System. Objects that feel inevitable once you are in the same room as them.

Swipe To Meet The Maker ➡️

Meet The Maker: @iniarchibong

A chair he designed is in the Metropolitan Museum of Art. That is one sentence about Ini Archibong. There are many more.

Nigerian-American. Based in Switzerland. Informed by mathematics, philosophy, and world religions. Working with Hermès, Herman Miller, and institutions that collect design as art.

Every piece from Design by Ini carries the trace of a specific idea, worked through with the kind of rigour most designers reserve for structure alone. The Atlas Series. The Oshun Collection. The Moirai System. Objects that feel inevitable once you are in the same room as them.

Swipe To Meet The Maker ➡️

Meet The Maker: @iniarchibong

A chair he designed is in the Metropolitan Museum of Art. That is one sentence about Ini Archibong. There are many more.

Nigerian-American. Based in Switzerland. Informed by mathematics, philosophy, and world religions. Working with Hermès, Herman Miller, and institutions that collect design as art.

Every piece from Design by Ini carries the trace of a specific idea, worked through with the kind of rigour most designers reserve for structure alone. The Atlas Series. The Oshun Collection. The Moirai System. Objects that feel inevitable once you are in the same room as them.

Swipe To Meet The Maker ➡️

Meet The Maker: @iniarchibong

A chair he designed is in the Metropolitan Museum of Art. That is one sentence about Ini Archibong. There are many more.

Nigerian-American. Based in Switzerland. Informed by mathematics, philosophy, and world religions. Working with Hermès, Herman Miller, and institutions that collect design as art.

Every piece from Design by Ini carries the trace of a specific idea, worked through with the kind of rigour most designers reserve for structure alone. The Atlas Series. The Oshun Collection. The Moirai System. Objects that feel inevitable once you are in the same room as them.

Swipe To Meet The Maker ➡️

Meet The Maker: @iniarchibong

A chair he designed is in the Metropolitan Museum of Art. That is one sentence about Ini Archibong. There are many more.

Nigerian-American. Based in Switzerland. Informed by mathematics, philosophy, and world religions. Working with Hermès, Herman Miller, and institutions that collect design as art.

Every piece from Design by Ini carries the trace of a specific idea, worked through with the kind of rigour most designers reserve for structure alone. The Atlas Series. The Oshun Collection. The Moirai System. Objects that feel inevitable once you are in the same room as them.

Swipe To Meet The Maker ➡️

Meet The Maker: @iniarchibong

A chair he designed is in the Metropolitan Museum of Art. That is one sentence about Ini Archibong. There are many more.

Nigerian-American. Based in Switzerland. Informed by mathematics, philosophy, and world religions. Working with Hermès, Herman Miller, and institutions that collect design as art.

Every piece from Design by Ini carries the trace of a specific idea, worked through with the kind of rigour most designers reserve for structure alone. The Atlas Series. The Oshun Collection. The Moirai System. Objects that feel inevitable once you are in the same room as them.

Swipe To Meet The Maker ➡️

Meet The Maker: @iniarchibong

A chair he designed is in the Metropolitan Museum of Art. That is one sentence about Ini Archibong. There are many more.

Nigerian-American. Based in Switzerland. Informed by mathematics, philosophy, and world religions. Working with Hermès, Herman Miller, and institutions that collect design as art.

Every piece from Design by Ini carries the trace of a specific idea, worked through with the kind of rigour most designers reserve for structure alone. The Atlas Series. The Oshun Collection. The Moirai System. Objects that feel inevitable once you are in the same room as them.

Swipe To Meet The Maker ➡️

Meet The Maker: @iniarchibong

A chair he designed is in the Metropolitan Museum of Art. That is one sentence about Ini Archibong. There are many more.

Nigerian-American. Based in Switzerland. Informed by mathematics, philosophy, and world religions. Working with Hermès, Herman Miller, and institutions that collect design as art.

Every piece from Design by Ini carries the trace of a specific idea, worked through with the kind of rigour most designers reserve for structure alone. The Atlas Series. The Oshun Collection. The Moirai System. Objects that feel inevitable once you are in the same room as them.

Swipe To Meet The Maker ➡️

Meet The Maker: @iniarchibong

A chair he designed is in the Metropolitan Museum of Art. That is one sentence about Ini Archibong. There are many more.

Nigerian-American. Based in Switzerland. Informed by mathematics, philosophy, and world religions. Working with Hermès, Herman Miller, and institutions that collect design as art.

Every piece from Design by Ini carries the trace of a specific idea, worked through with the kind of rigour most designers reserve for structure alone. The Atlas Series. The Oshun Collection. The Moirai System. Objects that feel inevitable once you are in the same room as them.

Swipe To Meet The Maker ➡️

Meet The Maker: @iniarchibong

A chair he designed is in the Metropolitan Museum of Art. That is one sentence about Ini Archibong. There are many more.

Nigerian-American. Based in Switzerland. Informed by mathematics, philosophy, and world religions. Working with Hermès, Herman Miller, and institutions that collect design as art.

Every piece from Design by Ini carries the trace of a specific idea, worked through with the kind of rigour most designers reserve for structure alone. The Atlas Series. The Oshun Collection. The Moirai System. Objects that feel inevitable once you are in the same room as them.

Swipe To Meet The Maker ➡️

Meet The Maker: @iniarchibong

A chair he designed is in the Metropolitan Museum of Art. That is one sentence about Ini Archibong. There are many more.

Nigerian-American. Based in Switzerland. Informed by mathematics, philosophy, and world religions. Working with Hermès, Herman Miller, and institutions that collect design as art.

Every piece from Design by Ini carries the trace of a specific idea, worked through with the kind of rigour most designers reserve for structure alone. The Atlas Series. The Oshun Collection. The Moirai System. Objects that feel inevitable once you are in the same room as them.

Swipe To Meet The Maker ➡️

Wire chairs have always existed in that rare space between structure and air.

There’s something almost architectural about them - the way they hold form without ever feeling visually heavy. Built from line, grid, and negative space, they bring presence into a room without overpowering it.

From Harry Bertoia’s sculptural experiments to the Eames’ softer interpretations, each piece approaches lightness differently. Some feel graphic and precise. Others feel almost fluid.

What makes them enduring isn’t just the silhouette.
It’s their ability to disappear and stand out at the same time.
If you had to choose one to live with every day - which one would it be?

Wire chairs have always existed in that rare space between structure and air.

There’s something almost architectural about them - the way they hold form without ever feeling visually heavy. Built from line, grid, and negative space, they bring presence into a room without overpowering it.

From Harry Bertoia’s sculptural experiments to the Eames’ softer interpretations, each piece approaches lightness differently. Some feel graphic and precise. Others feel almost fluid.

What makes them enduring isn’t just the silhouette.
It’s their ability to disappear and stand out at the same time.
If you had to choose one to live with every day - which one would it be?

Wire chairs have always existed in that rare space between structure and air.

There’s something almost architectural about them - the way they hold form without ever feeling visually heavy. Built from line, grid, and negative space, they bring presence into a room without overpowering it.

From Harry Bertoia’s sculptural experiments to the Eames’ softer interpretations, each piece approaches lightness differently. Some feel graphic and precise. Others feel almost fluid.

What makes them enduring isn’t just the silhouette.
It’s their ability to disappear and stand out at the same time.
If you had to choose one to live with every day - which one would it be?

Wire chairs have always existed in that rare space between structure and air.

There’s something almost architectural about them - the way they hold form without ever feeling visually heavy. Built from line, grid, and negative space, they bring presence into a room without overpowering it.

From Harry Bertoia’s sculptural experiments to the Eames’ softer interpretations, each piece approaches lightness differently. Some feel graphic and precise. Others feel almost fluid.

What makes them enduring isn’t just the silhouette.
It’s their ability to disappear and stand out at the same time.
If you had to choose one to live with every day - which one would it be?

Wire chairs have always existed in that rare space between structure and air.

There’s something almost architectural about them - the way they hold form without ever feeling visually heavy. Built from line, grid, and negative space, they bring presence into a room without overpowering it.

From Harry Bertoia’s sculptural experiments to the Eames’ softer interpretations, each piece approaches lightness differently. Some feel graphic and precise. Others feel almost fluid.

What makes them enduring isn’t just the silhouette.
It’s their ability to disappear and stand out at the same time.
If you had to choose one to live with every day - which one would it be?

Wire chairs have always existed in that rare space between structure and air.

There’s something almost architectural about them - the way they hold form without ever feeling visually heavy. Built from line, grid, and negative space, they bring presence into a room without overpowering it.

From Harry Bertoia’s sculptural experiments to the Eames’ softer interpretations, each piece approaches lightness differently. Some feel graphic and precise. Others feel almost fluid.

What makes them enduring isn’t just the silhouette.
It’s their ability to disappear and stand out at the same time.
If you had to choose one to live with every day - which one would it be?

Wire chairs have always existed in that rare space between structure and air.

There’s something almost architectural about them - the way they hold form without ever feeling visually heavy. Built from line, grid, and negative space, they bring presence into a room without overpowering it.

From Harry Bertoia’s sculptural experiments to the Eames’ softer interpretations, each piece approaches lightness differently. Some feel graphic and precise. Others feel almost fluid.

What makes them enduring isn’t just the silhouette.
It’s their ability to disappear and stand out at the same time.
If you had to choose one to live with every day - which one would it be?

Wire chairs have always existed in that rare space between structure and air.

There’s something almost architectural about them - the way they hold form without ever feeling visually heavy. Built from line, grid, and negative space, they bring presence into a room without overpowering it.

From Harry Bertoia’s sculptural experiments to the Eames’ softer interpretations, each piece approaches lightness differently. Some feel graphic and precise. Others feel almost fluid.

What makes them enduring isn’t just the silhouette.
It’s their ability to disappear and stand out at the same time.
If you had to choose one to live with every day - which one would it be?

Wire chairs have always existed in that rare space between structure and air.

There’s something almost architectural about them - the way they hold form without ever feeling visually heavy. Built from line, grid, and negative space, they bring presence into a room without overpowering it.

From Harry Bertoia’s sculptural experiments to the Eames’ softer interpretations, each piece approaches lightness differently. Some feel graphic and precise. Others feel almost fluid.

What makes them enduring isn’t just the silhouette.
It’s their ability to disappear and stand out at the same time.
If you had to choose one to live with every day - which one would it be?

The name Zanat translates simply to “craft” in Bosnian. The brand lives up to it entirely.

Founded on a UNESCO-listed woodcarving tradition from Konjic, Bosnia, Zanat is a four-generation family story that became an international design brand without abandoning a single thing that made it worth knowing about. Every piece is shaped by hand. Every surface carries the trace of a decision made by a person, not a machine.

Structured silhouettes. Sculptural profiles. Solid wood with hand-carved textures and leather upholstery. Furniture that does not announce itself, but reveals itself slowly, through use and proximity.

This is design through the human hand.

The name Zanat translates simply to “craft” in Bosnian. The brand lives up to it entirely.

Founded on a UNESCO-listed woodcarving tradition from Konjic, Bosnia, Zanat is a four-generation family story that became an international design brand without abandoning a single thing that made it worth knowing about. Every piece is shaped by hand. Every surface carries the trace of a decision made by a person, not a machine.

Structured silhouettes. Sculptural profiles. Solid wood with hand-carved textures and leather upholstery. Furniture that does not announce itself, but reveals itself slowly, through use and proximity.

This is design through the human hand.

The name Zanat translates simply to “craft” in Bosnian. The brand lives up to it entirely.

Founded on a UNESCO-listed woodcarving tradition from Konjic, Bosnia, Zanat is a four-generation family story that became an international design brand without abandoning a single thing that made it worth knowing about. Every piece is shaped by hand. Every surface carries the trace of a decision made by a person, not a machine.

Structured silhouettes. Sculptural profiles. Solid wood with hand-carved textures and leather upholstery. Furniture that does not announce itself, but reveals itself slowly, through use and proximity.

This is design through the human hand.

The name Zanat translates simply to “craft” in Bosnian. The brand lives up to it entirely.

Founded on a UNESCO-listed woodcarving tradition from Konjic, Bosnia, Zanat is a four-generation family story that became an international design brand without abandoning a single thing that made it worth knowing about. Every piece is shaped by hand. Every surface carries the trace of a decision made by a person, not a machine.

Structured silhouettes. Sculptural profiles. Solid wood with hand-carved textures and leather upholstery. Furniture that does not announce itself, but reveals itself slowly, through use and proximity.

This is design through the human hand.

The name Zanat translates simply to “craft” in Bosnian. The brand lives up to it entirely.

Founded on a UNESCO-listed woodcarving tradition from Konjic, Bosnia, Zanat is a four-generation family story that became an international design brand without abandoning a single thing that made it worth knowing about. Every piece is shaped by hand. Every surface carries the trace of a decision made by a person, not a machine.

Structured silhouettes. Sculptural profiles. Solid wood with hand-carved textures and leather upholstery. Furniture that does not announce itself, but reveals itself slowly, through use and proximity.

This is design through the human hand.

The name Zanat translates simply to “craft” in Bosnian. The brand lives up to it entirely.

Founded on a UNESCO-listed woodcarving tradition from Konjic, Bosnia, Zanat is a four-generation family story that became an international design brand without abandoning a single thing that made it worth knowing about. Every piece is shaped by hand. Every surface carries the trace of a decision made by a person, not a machine.

Structured silhouettes. Sculptural profiles. Solid wood with hand-carved textures and leather upholstery. Furniture that does not announce itself, but reveals itself slowly, through use and proximity.

This is design through the human hand.

The name Zanat translates simply to “craft” in Bosnian. The brand lives up to it entirely.

Founded on a UNESCO-listed woodcarving tradition from Konjic, Bosnia, Zanat is a four-generation family story that became an international design brand without abandoning a single thing that made it worth knowing about. Every piece is shaped by hand. Every surface carries the trace of a decision made by a person, not a machine.

Structured silhouettes. Sculptural profiles. Solid wood with hand-carved textures and leather upholstery. Furniture that does not announce itself, but reveals itself slowly, through use and proximity.

This is design through the human hand.

The name Zanat translates simply to “craft” in Bosnian. The brand lives up to it entirely.

Founded on a UNESCO-listed woodcarving tradition from Konjic, Bosnia, Zanat is a four-generation family story that became an international design brand without abandoning a single thing that made it worth knowing about. Every piece is shaped by hand. Every surface carries the trace of a decision made by a person, not a machine.

Structured silhouettes. Sculptural profiles. Solid wood with hand-carved textures and leather upholstery. Furniture that does not announce itself, but reveals itself slowly, through use and proximity.

This is design through the human hand.

The name Zanat translates simply to “craft” in Bosnian. The brand lives up to it entirely.

Founded on a UNESCO-listed woodcarving tradition from Konjic, Bosnia, Zanat is a four-generation family story that became an international design brand without abandoning a single thing that made it worth knowing about. Every piece is shaped by hand. Every surface carries the trace of a decision made by a person, not a machine.

Structured silhouettes. Sculptural profiles. Solid wood with hand-carved textures and leather upholstery. Furniture that does not announce itself, but reveals itself slowly, through use and proximity.

This is design through the human hand.

The name Zanat translates simply to “craft” in Bosnian. The brand lives up to it entirely.

Founded on a UNESCO-listed woodcarving tradition from Konjic, Bosnia, Zanat is a four-generation family story that became an international design brand without abandoning a single thing that made it worth knowing about. Every piece is shaped by hand. Every surface carries the trace of a decision made by a person, not a machine.

Structured silhouettes. Sculptural profiles. Solid wood with hand-carved textures and leather upholstery. Furniture that does not announce itself, but reveals itself slowly, through use and proximity.

This is design through the human hand.

The name Zanat translates simply to “craft” in Bosnian. The brand lives up to it entirely.

Founded on a UNESCO-listed woodcarving tradition from Konjic, Bosnia, Zanat is a four-generation family story that became an international design brand without abandoning a single thing that made it worth knowing about. Every piece is shaped by hand. Every surface carries the trace of a decision made by a person, not a machine.

Structured silhouettes. Sculptural profiles. Solid wood with hand-carved textures and leather upholstery. Furniture that does not announce itself, but reveals itself slowly, through use and proximity.

This is design through the human hand.

The name Zanat translates simply to “craft” in Bosnian. The brand lives up to it entirely.

Founded on a UNESCO-listed woodcarving tradition from Konjic, Bosnia, Zanat is a four-generation family story that became an international design brand without abandoning a single thing that made it worth knowing about. Every piece is shaped by hand. Every surface carries the trace of a decision made by a person, not a machine.

Structured silhouettes. Sculptural profiles. Solid wood with hand-carved textures and leather upholstery. Furniture that does not announce itself, but reveals itself slowly, through use and proximity.

This is design through the human hand.

The name Zanat translates simply to “craft” in Bosnian. The brand lives up to it entirely.

Founded on a UNESCO-listed woodcarving tradition from Konjic, Bosnia, Zanat is a four-generation family story that became an international design brand without abandoning a single thing that made it worth knowing about. Every piece is shaped by hand. Every surface carries the trace of a decision made by a person, not a machine.

Structured silhouettes. Sculptural profiles. Solid wood with hand-carved textures and leather upholstery. Furniture that does not announce itself, but reveals itself slowly, through use and proximity.

This is design through the human hand.

The name Zanat translates simply to “craft” in Bosnian. The brand lives up to it entirely.

Founded on a UNESCO-listed woodcarving tradition from Konjic, Bosnia, Zanat is a four-generation family story that became an international design brand without abandoning a single thing that made it worth knowing about. Every piece is shaped by hand. Every surface carries the trace of a decision made by a person, not a machine.

Structured silhouettes. Sculptural profiles. Solid wood with hand-carved textures and leather upholstery. Furniture that does not announce itself, but reveals itself slowly, through use and proximity.

This is design through the human hand.

The name Zanat translates simply to “craft” in Bosnian. The brand lives up to it entirely.

Founded on a UNESCO-listed woodcarving tradition from Konjic, Bosnia, Zanat is a four-generation family story that became an international design brand without abandoning a single thing that made it worth knowing about. Every piece is shaped by hand. Every surface carries the trace of a decision made by a person, not a machine.

Structured silhouettes. Sculptural profiles. Solid wood with hand-carved textures and leather upholstery. Furniture that does not announce itself, but reveals itself slowly, through use and proximity.

This is design through the human hand.

The sofa started as a lump of Cornish butter, shaped by slippery fingers.

That is not a metaphor. That is the actual design process.

@t_o_o_g_o_o_d Faye Toogood’s Butter Sofa for @tacchini_italia - part of the Bread & Butter collection — began not at a CAD station but at the breakfast table.

Modular and reconfigurable, the sofa rests on oversized building block volumes - upholstery that melts across its structure, soft enough to invite and solid enough to hold. You configure it to your space. You configure it to your mood.

This is what it looks like when a designer refuses to begin at the screen.

The sofa started as a lump of Cornish butter, shaped by slippery fingers.

That is not a metaphor. That is the actual design process.

@t_o_o_g_o_o_d Faye Toogood’s Butter Sofa for @tacchini_italia - part of the Bread & Butter collection — began not at a CAD station but at the breakfast table.

Modular and reconfigurable, the sofa rests on oversized building block volumes - upholstery that melts across its structure, soft enough to invite and solid enough to hold. You configure it to your space. You configure it to your mood.

This is what it looks like when a designer refuses to begin at the screen.

The sofa started as a lump of Cornish butter, shaped by slippery fingers.

That is not a metaphor. That is the actual design process.

@t_o_o_g_o_o_d Faye Toogood’s Butter Sofa for @tacchini_italia - part of the Bread & Butter collection — began not at a CAD station but at the breakfast table.

Modular and reconfigurable, the sofa rests on oversized building block volumes - upholstery that melts across its structure, soft enough to invite and solid enough to hold. You configure it to your space. You configure it to your mood.

This is what it looks like when a designer refuses to begin at the screen.

The sofa started as a lump of Cornish butter, shaped by slippery fingers.

That is not a metaphor. That is the actual design process.

@t_o_o_g_o_o_d Faye Toogood’s Butter Sofa for @tacchini_italia - part of the Bread & Butter collection — began not at a CAD station but at the breakfast table.

Modular and reconfigurable, the sofa rests on oversized building block volumes - upholstery that melts across its structure, soft enough to invite and solid enough to hold. You configure it to your space. You configure it to your mood.

This is what it looks like when a designer refuses to begin at the screen.

The sofa started as a lump of Cornish butter, shaped by slippery fingers.

That is not a metaphor. That is the actual design process.

@t_o_o_g_o_o_d Faye Toogood’s Butter Sofa for @tacchini_italia - part of the Bread & Butter collection — began not at a CAD station but at the breakfast table.

Modular and reconfigurable, the sofa rests on oversized building block volumes - upholstery that melts across its structure, soft enough to invite and solid enough to hold. You configure it to your space. You configure it to your mood.

This is what it looks like when a designer refuses to begin at the screen.

The sofa started as a lump of Cornish butter, shaped by slippery fingers.

That is not a metaphor. That is the actual design process.

@t_o_o_g_o_o_d Faye Toogood’s Butter Sofa for @tacchini_italia - part of the Bread & Butter collection — began not at a CAD station but at the breakfast table.

Modular and reconfigurable, the sofa rests on oversized building block volumes - upholstery that melts across its structure, soft enough to invite and solid enough to hold. You configure it to your space. You configure it to your mood.

This is what it looks like when a designer refuses to begin at the screen.