To hear the story of James and Chelsea Minola — the married couple behind Seattle’s Grain design studio — you begin to wonder how it’s possible their paths didn’t cross even earlier in life. Both grew up in Southern California — James in San Diego, and Chelsea in Los Angeles, where her parents were the owners of a punk rock store at the Sherman Oaks Galleria. In the early ’90s, both families relocated to the Pacific Northwest, and James and Chelsea moved east to Providence, Rhode Island, around the same time to attend RISD — James as an undergrad in engineering and Chelsea as a graduate in industrial design. But the two didn’t meet until they both enrolled in a short course called “Bridging Cultures Through Design,” where they worked first in Providence, tinkering with ideas about weaving, and then for a few weeks in Guatemala, where they learned how to work with talented local artisans. The trip would eventually lead the two friends down the path to marriage but it also introduced them to the way in which their future studio would run.
“We have a studio here on Bainbridge Island where we make some products from start to finish, but we also put a high value on the community of artists, fabricators, and craftspeople that we work with,” says James. “We’re inspired by their skill, and we try and work with people who are more experienced than us at that given craft. We want their expertise, and it’s more about working together to realize the initial concept than strictly enforcing our preconceived notions. In the end, this also reinforces our social sustainability goals as well. We’re able to help support a larger community of artists and craftspeople that is so much bigger and more important than our one little company.”
Luckily, it’s a little company that’s growing bigger every day. The two moved back to Bainbridge Island after graduating, and the company began in 2008 with a simple, ethically produced shower curtain. It’s their “least glamorous product” as Chelsea puts it, but its popularity has helped support the growth of the business, which now includes a collection of furniture and housewares that explores the inherent beauty of natural materials through a mix of traditional craftsmanship and cutting-edge technologies. They’ve been on our radar for a few years now — they were instrumental, with Iacoli & McAllister and Ladies & Gentlemen, in forming JOIN, a loose Seattle-based collective that puts on exhibitions and shows at trade fairs together — but we thought it was high time we sat down and said a proper hello.
What style movement do you most identify with? James: “My favorite movement is what is happening now. I think there is a lot of really beautiful and inspired work happening, and it’s all around us. Just take a look at your site! Independent designers are able to work with tools and in ways that just wasn’t possible several years ago, all while reaching a larger audience. One of the most exciting aspects of design in general is its nowness, and all the creative people pushing the boundaries of what can be made in the present… before it becomes art history. What could be more relevant than work produced by still-living people for still-existing problems by those with the most current sets of skills and knowledge?”
First thing a stranger would say when they saw your work: Chelsea: “I feel like I should have something weird and funny to say after all the trade shows, pop-ups, and meet-the-maker events that we have worked, but I am coming up blank. Strangers often like to give advice, like: ‘This would be great in animal print.'”
Dream place to install your work? Chelsea: “How about the Cooper-Hewitt? That show Design ≠ Art from several years back left a big impression on me. The rooms were laid out with Donald Judd and Richard Tuttle furniture as if the mansion was still a home. It would have to be in spring or early summer so that the opening party could be in the garden!”
If you had an unlimited budget for a single piece, what would you make? Chelsea: “A home for ourselves. One with an ocean view, radiant heat floors, detached studio, and plenty of room for guests. Maybe here in the Northwest or maybe Northern California somewhere. We like the idea of what we call ‘rugged coastal’ and spend plenty of time daydreaming about architecture.”
If you weren’t a designer, what would you be? Chelsea: “I know James’s answer to this. His first answer is probably ski bum. Second: surf bum. Sometimes I wonder what it would be like to do something less personal and emotional — to save that part of my life for myself — like finance or accounting. Probably sounds super boring, but I really like spreadsheets and organizing. I always complain about being our bookkeeper, but it is actually pretty satisfying to balance out our accounts.”
James: “I have a lot of interests ranging from writing to theoretical physics… but Chelsea’s right, I’d probably just be some form of outdoorsy lout. My true skill set!”
What inspired your Dish tables? Chelsea: “A collection of African stools that I inherited from my grandparents. Both of my grandfathers were doctors who worked in public health, which took them and their families all over the world. My mom and her family lived in Ghana, Ethiopia, and later Thailand. My dad was born in Nigeria and lived there, Cameroon, and then in Australia with his family. I grew up with these little tables. They have great sculptural presence, but aren’t really very functional as they are hand carved from single pieces of wood and are pretty wonky. The idea behind our tables was to take the basic dished out top but clean it up so that you get a usable surface.”
James: “For me the Dish tables became more about the making process. Traditionally, if you are going to make a wood dish or bowl you would use a lathe, but that process is quite limiting in terms of scale. Safely, you can only go so big with a giant spinning hunk of lumber, so we make ours on a large CNC mill where the wood remains stationary and it is the cutting heads that move around.”
What inspires Grain’s aesthetic? Chelsea: “I think my personal aesthetic is informed by my family history plus a good dash of order. I’m drawn to over-the-top textures and methodical details, but also have a need to create some sort of organized structure in order to be able to deal with it all. Woman vs. nature I guess. We talk a lot about technology and the handmade. As much as we are drawn to craft and the romantic ideals of being makers, we try not to be too nostalgic. We’re excited by the efficiency that current technologies can provide. Our Bound and Stitch mirrors are a good example of this. We cut all the parts mechanically (waterjet, CNC, laser) and then patiently wrap them together by hand while catching up on Netflix.”
Are you collectors? Chelsea: “I’ve inherited so many treasures from my family that I try to be careful about bringing more into our home. Books keep piling up, though, and textiles from our travels (above). One of our most recent collections is a series by British artist, David Birch. He is a family friend who lives in Chipping Campden (where we just got married). Thanks to some generous wedding gifts, we now own one of his watercolors and several engravings of Cotswold villages.”
James: “We own a pretty good-sized collection wooden kitchen implements (above). Some were inherited, some made for us by friends, and some thrifted. I also grew up collecting rocks, which Chelsea generally makes fun of me for. There are only a few of these that have remained with me over the years and now they are mainly relegated to the shed.”
Who’s your design or art hero? Chelsea: “My aunt, Nancy Fouts, is one of my creative heroes. She worked her whole life as a commercial artist. This was pre-Photoshop. If you were building an ad campaign from the 1970’s to the 1990’s in London and you needed a giant Twix bar or a frog smoking a cigarette, you most likely had to hire Nancy. She and her late husband, Malcolm Fowler, ran this business of providing such models from their old vicarage in north London. Their work was their life together. Even though it kind of frightened me as a child, that creative entrepreneurial lifestyle — of making your way on your wits alone — is something that left its mark on me.”
What do you keep around your studio or home for inspiration? Chelsea: “Our library. One favorite that I pull out often is The Landmark Trust Handbook. It’s a guide to landmarked properties all across the UK (along with a few in France, Italy, and the US) that can be rented out by the public. The properties range from cottages to castles and are simply furnished with period pieces. The handbook also includes little floor plans so you can imagine who gets which room. I can’t get enough of this book!”
Best thing about where you live: Chelsea: “We live and work in a 1901 farmhouse on Bainbridge Island (35 min from Seattle by ferry). The best part is the house itself, which is a pretty cozy retreat. We can walk to the beach, town, and to the ferry to the city. Both James and I have family here on the island, so it is home.”
Worst thing about where you live: Chelsea: “Living on an island in the woods can have its downsides. The ferry home can be a buzzkill after a late night out in Seattle. Bainbridge itself has a rural vibe, which we like, but it can also feel a bit culturally removed and suburban at times. Not having kids or being retired makes James and me a bit of a minority.”
Place you go to be inspired: Chelsea: “Our annual Guatemala trips always leave me inspired as well as humbled. We get to work with such talented artisans while at the same time building sustainable income opportunities.” James: “If we go somewhere for pleasure, I generally enjoy leaving design behind us for a while. These periods of rest have a significant creative value. Sometimes you’ve just got to switch it up and worry about what snacks to bring skiing or weather you’ve got enough sunscreen. Then, when it’s time to be inspired, you’re open to it.”
What’s your color inspiration? Chelsea: “Muted tones have taken me over as of late. Working with natural dyes and materials has definitely influenced Grain’s palette. Maybe living in the grey Northwest has taken effect as well. There is a subtlety to the light and the way color is perceived in this part of the world.” James: “Chelsea sees color differently than I do, and I very much trust her eye.”
First thing you ever made? Chelsea: “For as long as I can remember I have been making assemblages of objects. I can recall occupying a lot of time collecting rocks, flowers, and shells to make little organized groupings. I did the same with my room and toys. There has always been something self-satisfying in that process for me.” James: “My dad (mostly) and I made a plywood castle to use with my Lego people. It was pretty great.”
Favorite everyday object: Chelsea: “My little coffee mug made by James. One of the first of many things he has made me over the years. It is the first thing I interact with each morning.” James: “My skis! It is amazing what two planks attached to your feet can enable. If I could use them every day, I would.”
Favorite design object: Chelsea: “Our friend, Niels Cosman, made us a cold cut battuto bowl as a wedding gift. We are old friends from RISD and he is the sweetest guy and this amazing glass genius. He brought it to us wrapped up in his dirty laundry the last time he came to visit on his way up to Pilchuck. It is a jewel in our collection of favorite things.”
Favorite design book: Chelsea: “I’ve been spending some time with The House Book by Terence Conran from 1974. I saw a copy of it at Jean and Dylan’s (of Ladies & Gentlemen Studio) and remembered it from growing up. I now have the copy that belonged to my grandmother. It turns out that my aunt’s old flat is featured in the book, so there is a tag in my copy marking each page that has a picture of my mom, aunt, uncle or cousins. I like getting a glimpse into their swinging 70s lives and wondering where all the objects in those photos ended up!”
Last great exhibition you saw: James: “It was several years ago now, but we saw an Ernesto Neto show at the Armory that left an impression. We were also lucky enough to see an Anish Kapoor installation that filled the Grand Palais. Both of these installations were visually striking but also an amazing experience to move around in. What fun it must be to work at that scale!”
Last great exhibition you saw: Chelsea: “We both love historic interiors and when talking to a friend about some of our favorites in England, she suggested that we check out the Renee & Chaim Gross Foundation. I used to live in the neighborhood and walked by the building often, but was clueless that it was even there. The townhome houses the personal collections and studio of the artists Renee and Chaim Gross and it is still laid out the way they left it — including his unfinished sculptures and tools in the studio. It tells a story of 20th-century art history through private objects and is a secret view into a creative life well lived.”
Last thing you bought at a flea market: James: “Vintage textiles and huipils in Guatemala. Good authentic pieces are getting harder and harder to find within our budget. In Guatemala, textiles are obviously beautiful, but they are also full of information. The traditional colors and patterns directly relate to the specific traditions of the villages in which they were made. You can often know the exact geographic location, gender, social and religious histories, even the marital status of the previous owner, all through these textiles.”
Favorite material to work with: James: “I have a lot of experience with woodworking, but my personal favorites in terms of enjoyment are wheel-thrown ceramics and glass blowing. In general, Chelsea and I both prefer to work with natural materials such as wood, stone, glass, ceramics, and fibers. They are appropriate materials for the kinds of home goods that we make. We like having the flexibility to work in many different mediums, and there is an important relationship between what you are making and what it is made out of.” (Above: Grain’s Grail cassoulet)
Favorite place to shop for materials or inspiration: James: “We put a high value on the community of artists, fabricators, and craftspeople that we work with. We’re inspired by their skill, and we try and work with people who are more experienced than us at that given craft. Really we want their expertise, and it’s more about working together to realize that initial concept than strictly enforcing our preconceived notions. In the end this also reinforces part of our social sustainability goals as well. We’re able to help support a larger community of artists and craftspeople that is so much bigger and more important than our one little company.” (Above: Working with glass artist John Hogan in the hotshop)
Favorite Google Image search: Chelsea: “I catch James on Google Maps all the time. I think he is looking for remote real-estate sites and surf spots. We once used it together to ‘take a trip to Italy’ for our honeymoon research. We pretended to ride a Vespa around the Amalfi Coast.”
Right now, Grain is: “Hustling to get all our new textiles, furniture, ceramics, and lighting ready for ICFF. James is up in the mountains every chance he gets, and I am planning our vegetable garden for the spring.” (Above: Grain’s Totem candlesticks, introduced last year)
After Jean Lee met Dylan Davis while studying industrial design at the University of Washington, and after a string of successful school collaborations led them to start dating, the two of them did a semester abroad together in Rome. “Those were the good times,” laughs Lee. “We saw all these independent studios there, and designers working more as artists, and it was really inspiring for us. That wasn't happening at all in Seattle.” And so after they graduated in 2005, Lee went on to work for a messenger bag company based in Philadelphia, while Davis joined the team at Henrybuilt. They did a small trade selling vintage finds on Etsy for awhile, and eventually started repurposing those objects into new designs as a hobby. But what finally led them to join forces as Ladies & Gentlemen in 2009 were the first signs that they might be able to find in Seattle what they experienced in Rome after all: Not only had studios like Iacoli & Mcallister and Grain begun to flourish by making and selling their own work, their new coalition Join was gathering together local designers to collaborate and exhibit together. “Jamie Iacoli asked us to contribute to a show, and were like ‘What the hell? Let’s do it!’”
If you'd expect anyone to spend their days working amidst a snowdrift’s worth of process and ephemera, it’s London designers Doshi Levien. What you see piled atop the shelves and pinned to the walls of the couple’s Shoreditch studio, after all, is the product of two very different yet equally prolific minds working through their own approaches to the same tasks — Nipa Doshi being the Bombay-born lover of handicraft who collages, paints, and draws her way towards ideas from the ground up, and her Scottish husband Jonathan Levien, who spent his childhood in his parents’ toy factory and developed the more exacting methods of an industrial designer, prototyping proclivities and all. While both enjoy surrounding themselves with collected objects like Italian ice cream cups and Chinese pencil boxes, it’s impossible to understate the importance of the couple’s divergent interests to their work’s unique point of view; the designs that made them famous, after all, were daybeds and sofas for Moroso that combined industrially produced furnishings with hand-embroidery and textiles sourced from Indian artisans. It would be a cliché way of characterizing the pair if it weren’t so overwhelmingly true, even by their own admission: “After ten years of working together, I see it as an essential ingredient in what we do, almost a layer in the approach without which it would feel naked,” says Levien.
Okay, let's get this out of the way as quickly as possible: Yes, Pauline Deltour spent a few years as a designer in Konstantin Grcic's studio. And yes, Grcic may have made a few strategic phone calls on her behalf, jumpstarting her career once she struck out on her own in 2009. But considering that was four years ago, and the 30-year-old Paris-based talent has since turned out more than a few painfully elegant designs for the likes of Discipline and Kvadrat, we thought it was worth stating for the record that she's become quite the rising star in her own right — not to mention one of design's most promising new female voices. We checked in with Deltour, who describes her practice as aspiring to create "self-evident" objects, to find out what she's been up to lately.
