This series, COLLECTIBLE In-Depth, unveils the backstage of contemporary creation. Tackling various topics from personal designer processes to the position of collectible design on the global design market, COLLECTIBLE In-Depth offers different views to suit all tastes. Today we speak with Andrea Claire Studio.

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COLLECTIBLE: Can you talk about a new piece / collection that you release for COLLECTIBLE this year?

ANDREA CLAIRE STUDIO: At COLLECTIBLE, Andrea Claire Studio is debuting Totemic — a new collection of handmade sculptural lighting that is approachable and poetic -- lighthearted, yet full of meaning. It’s designed to stir a subtle kind of wonder — something felt more than explained, familiar but elusive. Inspired by the symbolic language of totems and the intimacy of jewelry, Totemic treats lighting as an object of emotional resonance — a sculptural form that holds story, memory, and intention. This collection marks a meaningful evolution in our practice, the result of over a decade of studio experimentation and collaboration. It carries forward our commitment to modular, customizable systems while exploring a softer, more elemental aesthetic. The collection includes pendant, floor, and table lamps. Each shade is made from natural Hanji paper, hand-layered using a technique we developed to evoke the look of glowing marble-- soft, luminous, and
full of depth. Shades are paired with a brass armature, finished in 22k gold, 22k moon gold, or silver leaf. The palette is kept elemental: pure white or delicately watercolored in a warm, diffused pink. Modular by nature, Totemic is designed to transform. The paper shades are available in two sizes and three sculptural silhouettes — Moon, Sage, and August — each named to suggest familiarity, memory, and undefined symbolism. Totemic invites you to experience light as a living presence, something that breathes with the space around it.

C: How has your practice evolved since you began working in collectible design?

ACS: My background has always bridged the worlds of design and art. I studied Architecture and Painting at the Rhode Island School of Design and spent many years working as a licensed architect in New York and Los Angeles — including time at Frank Gehry’s and David Rockwell’s offices, among others. Along the way, I earned an MFA from CalArts, which deepened my conceptual thinking and material exploration. When I founded Andrea Claire Studio nearly 15 years ago, I set out with a clear ethos — one rooted in craft, care, and intention. That ethos has remained constant and strong. Working in this space has allowed me to slow down and focus on making fewer, finer pieces — each one sculptural, enduring, and emotionally resonant. The material choices are elemental and deliberate — porcelain, bamboo, and handmade paper — and my process is collaborative, both within the studio and with clients, fabricators, and artisans. We are a proudly inclusive, female-founded studio where design isn’t about following trends, but about creating lasting presence. Collectible design has given me the freedom to bring together generations of craft tradition, artistic sensibility, and thoughtful design — treating each piece as a lasting expression to be lived with, held onto, and passed down

C: What ethical considerations guide your material choices and sourcing practices in the production of collectible design pieces?

ACS: At Andrea Claire Studio, every material choice begins with respect — for the planet, for the process, and for the people who will live with our work. We’re deeply committed to sustainability, not as a trend, but as a long-term ethic woven into how we design, source, and build. We work primarily with materials like bamboo, porcelain, and paper — not only for their beauty and tactility, but for their renewability and low environmental impact. Bamboo, for instance, is fast-growing and requires no pesticides; Hanji paper is handmade from mulberry bark, using a centuries-old technique that honors both craft and ecology; and porcelain, when made with care, is one of the most enduring and inert materials available. We source thoughtfully, build in small batches, and collaborate closely with skilled artisans who share our values. Our lighting is designed to last — not just physically, but emotionally — with pieces that feel meaningful enough to keep, repair, and pass on. Ultimately, we believe ethical design isn’t just about materials — it’s about intention, longevity, and care at every step.

C: How can collectible design be a representation or reaction to the current societal, political or economic questions?

ACS: The objects present in a space can embody a context in themselves. They help us understand how societies have been shaped — how someone’s perception evolves through travel, or how they value local artisanal processes. They can reveal a preference for technology or for more rustic craftsmanship, reflecting what they see in their country or surroundings.

Objects also speak to someone`s personal stance toward situations — what moves them, and what they seek to mirror back into their own society. In this way, collectible design becomes both a reflection and a dialogue: a physical manifestation of cultural identity, influence, and perspective.

C: How do you navigate the tension between innovation and tradition in your approach to collectible design?

ACS: At Andrea Claire Studio, we see tradition and innovation not as opposing forces, but as essential partners in the creative process. Our work is deeply rooted in time-honored techniques — hand-layered Hanji paper, kiln-fired porcelain, gilded brass — yet we constantly push these materials and methods forward with new tools, ideas, and perspectives. We use advanced 3D modeling to help clients visualize how our pieces will live in their spaces, and to design complex, mobile chandeliers with architectural precision. We prototype components with CNC machining, engineer custom brass parts, and continually explore new fabrication methods that expand what’s possible in sculptural lighting. Even our smallest choices are driven by both tradition and intention — from selecting energy-efficient bulb technology to obsessively reclaiming and reusing materials wherever we can. This intersection — of craft and code, of human touch and high-tech precision — is where our best work
happens. We’re not interested in innovation for its own sake; we innovate to make work that’s enduring, expressive, and built with care.

COLLECTIBLE: Can you talk about a new piece / collection that you release for COLLECTIBLE this year?

ANDREA CLAIRE STUDIO: At COLLECTIBLE, Andrea Claire Studio is debuting Totemic — a new collection of handmade sculptural lighting that is approachable and poetic -- lighthearted, yet full of meaning. It’s designed to stir a subtle kind of wonder — something felt more than explained, familiar but elusive. Inspired by the symbolic language of totems and the intimacy of jewelry, Totemic treats lighting as an object of emotional resonance — a sculptural form that holds story, memory, and intention. This collection marks a meaningful evolution in our practice, the result of over a decade of studio experimentation and collaboration. It carries forward our commitment to modular, customizable systems while exploring a softer, more elemental aesthetic. The collection includes pendant, floor, and table lamps. Each shade is made from natural Hanji paper, hand-layered using a technique we developed to evoke the look of glowing marble-- soft, luminous, and
full of depth. Shades are paired with a brass armature, finished in 22k gold, 22k moon gold, or silver leaf. The palette is kept elemental: pure white or delicately watercolored in a warm, diffused pink. Modular by nature, Totemic is designed to transform. The paper shades are available in two sizes and three sculptural silhouettes — Moon, Sage, and August — each named to suggest familiarity, memory, and undefined symbolism. Totemic invites you to experience light as a living presence, something that breathes with the space around it.

C: How has your practice evolved since you began working in collectible design?

ACS: My background has always bridged the worlds of design and art. I studied Architecture and Painting at the Rhode Island School of Design and spent many years working as a licensed architect in New York and Los Angeles — including time at Frank Gehry’s and David Rockwell’s offices, among others. Along the way, I earned an MFA from CalArts, which deepened my conceptual thinking and material exploration. When I founded Andrea Claire Studio nearly 15 years ago, I set out with a clear ethos — one rooted in craft, care, and intention. That ethos has remained constant and strong. Working in this space has allowed me to slow down and focus on making fewer, finer pieces — each one sculptural, enduring, and emotionally resonant. The material choices are elemental and deliberate — porcelain, bamboo, and handmade paper — and my process is collaborative, both within the studio and with clients, fabricators, and artisans. We are a proudly inclusive, female-founded studio where design isn’t about following trends, but about creating lasting presence. Collectible design has given me the freedom to bring together generations of craft tradition, artistic sensibility, and thoughtful design — treating each piece as a lasting expression to be lived with, held onto, and passed down

C: What ethical considerations guide your material choices and sourcing practices in the production of collectible design pieces?

ACS: At Andrea Claire Studio, every material choice begins with respect — for the planet, for the process, and for the people who will live with our work. We’re deeply committed to sustainability, not as a trend, but as a long-term ethic woven into how we design, source, and build. We work primarily with materials like bamboo, porcelain, and paper — not only for their beauty and tactility, but for their renewability and low environmental impact. Bamboo, for instance, is fast-growing and requires no pesticides; Hanji paper is handmade from mulberry bark, using a centuries-old technique that honors both craft and ecology; and porcelain, when made with care, is one of the most enduring and inert materials available. We source thoughtfully, build in small batches, and collaborate closely with skilled artisans who share our values. Our lighting is designed to last — not just physically, but emotionally — with pieces that feel meaningful enough to keep, repair, and pass on. Ultimately, we believe ethical design isn’t just about materials — it’s about intention, longevity, and care at every step.

C: How can collectible design be a representation or reaction to the current societal, political or economic questions?

ACS: The objects present in a space can embody a context in themselves. They help us understand how societies have been shaped — how someone’s perception evolves through travel, or how they value local artisanal processes. They can reveal a preference for technology or for more rustic craftsmanship, reflecting what they see in their country or surroundings.

Objects also speak to someone`s personal stance toward situations — what moves them, and what they seek to mirror back into their own society. In this way, collectible design becomes both a reflection and a dialogue: a physical manifestation of cultural identity, influence, and perspective.

C: How do you navigate the tension between innovation and tradition in your approach to collectible design?

ACS: At Andrea Claire Studio, we see tradition and innovation not as opposing forces, but as essential partners in the creative process. Our work is deeply rooted in time-honored techniques — hand-layered Hanji paper, kiln-fired porcelain, gilded brass — yet we constantly push these materials and methods forward with new tools, ideas, and perspectives. We use advanced 3D modeling to help clients visualize how our pieces will live in their spaces, and to design complex, mobile chandeliers with architectural precision. We prototype components with CNC machining, engineer custom brass parts, and continually explore new fabrication methods that expand what’s possible in sculptural lighting. Even our smallest choices are driven by both tradition and intention — from selecting energy-efficient bulb technology to obsessively reclaiming and reusing materials wherever we can. This intersection — of craft and code, of human touch and high-tech precision — is where our best work
happens. We’re not interested in innovation for its own sake; we innovate to make work that’s enduring, expressive, and built with care.