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Inspired by the crinoline made fashionable in the late 19th century, the light takes cues from the dome-shaped silhouette used to expand the volume around women’s bodies.

Cocooned in silk fabric the ceiling light is layered with lace flowers embroidered with silver thread, while beaded flowers sprout around the piece.

Presented for the first time at @alcova.milano

Photo: @richard_round_turner

Inspired by the crinoline made fashionable in the late 19th century, the light takes cues from the dome-shaped silhouette used to expand the volume around women’s bodies.

Cocooned in silk fabric the ceiling light is layered with lace flowers embroidered with silver thread, while beaded flowers sprout around the piece.

Presented for the first time at @alcova.milano

Photo: @richard_round_turner

Inspired by the crinoline made fashionable in the late 19th century, the light takes cues from the dome-shaped silhouette used to expand the volume around women’s bodies.

Cocooned in silk fabric the ceiling light is layered with lace flowers embroidered with silver thread, while beaded flowers sprout around the piece.

Presented for the first time at @alcova.milano

Photo: @richard_round_turner

Inspired by the crinoline made fashionable in the late 19th century, the light takes cues from the dome-shaped silhouette used to expand the volume around women’s bodies.

Cocooned in silk fabric the ceiling light is layered with lace flowers embroidered with silver thread, while beaded flowers sprout around the piece.

Presented for the first time at @alcova.milano

Photo: @richard_round_turner

Inspired by the crinoline made fashionable in the late 19th century, the light takes cues from the dome-shaped silhouette used to expand the volume around women’s bodies.

Cocooned in silk fabric the ceiling light is layered with lace flowers embroidered with silver thread, while beaded flowers sprout around the piece.

Presented for the first time at @alcova.milano

Photo: @richard_round_turner

Inspired by the crinoline made fashionable in the late 19th century, the light takes cues from the dome-shaped silhouette used to expand the volume around women’s bodies.

Cocooned in silk fabric the ceiling light is layered with lace flowers embroidered with silver thread, while beaded flowers sprout around the piece.

Presented for the first time at @alcova.milano

Photo: @richard_round_turner

Inspired by the crinoline made fashionable in the late 19th century, the light takes cues from the dome-shaped silhouette used to expand the volume around women’s bodies.

Cocooned in silk fabric the ceiling light is layered with lace flowers embroidered with silver thread, while beaded flowers sprout around the piece.

Presented for the first time at @alcova.milano

Photo: @richard_round_turner

Inspired by the crinoline made fashionable in the late 19th century, the light takes cues from the dome-shaped silhouette used to expand the volume around women’s bodies.

Cocooned in silk fabric the ceiling light is layered with lace flowers embroidered with silver thread, while beaded flowers sprout around the piece.

Presented for the first time at @alcova.milano

Photo: @richard_round_turner

There was a lecture that Virgil Abloh gave (possible GSD or RCA?) and in a q+a he was asked his favorite tool or software, he answered immediately, almost before the question had finished arriving, WhatsApp. For Virgil WhatsApp was his office, sound recording studio, photoshop, and more all rolled into one. At the time the answer didn’t land with me, a kind of performance of informality, but throughout the development of Jane and I’s collaboration piece and the exhibition more broadly I began to understand the power of long distance collaboration that WhatsApp allows for. With Jane in the north of Spain and me in London and between us this continuous, low-resolution stream of messages, images, sketches, voice notes, fragments accumulating into something like a shared surface. This process, I think, shaped not only how the objects look but how the whole exhibition came to feel.

1st photo: @richard_round_turner

There was a lecture that Virgil Abloh gave (possible GSD or RCA?) and in a q+a he was asked his favorite tool or software, he answered immediately, almost before the question had finished arriving, WhatsApp. For Virgil WhatsApp was his office, sound recording studio, photoshop, and more all rolled into one. At the time the answer didn’t land with me, a kind of performance of informality, but throughout the development of Jane and I’s collaboration piece and the exhibition more broadly I began to understand the power of long distance collaboration that WhatsApp allows for. With Jane in the north of Spain and me in London and between us this continuous, low-resolution stream of messages, images, sketches, voice notes, fragments accumulating into something like a shared surface. This process, I think, shaped not only how the objects look but how the whole exhibition came to feel.

1st photo: @richard_round_turner

There was a lecture that Virgil Abloh gave (possible GSD or RCA?) and in a q+a he was asked his favorite tool or software, he answered immediately, almost before the question had finished arriving, WhatsApp. For Virgil WhatsApp was his office, sound recording studio, photoshop, and more all rolled into one. At the time the answer didn’t land with me, a kind of performance of informality, but throughout the development of Jane and I’s collaboration piece and the exhibition more broadly I began to understand the power of long distance collaboration that WhatsApp allows for. With Jane in the north of Spain and me in London and between us this continuous, low-resolution stream of messages, images, sketches, voice notes, fragments accumulating into something like a shared surface. This process, I think, shaped not only how the objects look but how the whole exhibition came to feel.

1st photo: @richard_round_turner

There was a lecture that Virgil Abloh gave (possible GSD or RCA?) and in a q+a he was asked his favorite tool or software, he answered immediately, almost before the question had finished arriving, WhatsApp. For Virgil WhatsApp was his office, sound recording studio, photoshop, and more all rolled into one. At the time the answer didn’t land with me, a kind of performance of informality, but throughout the development of Jane and I’s collaboration piece and the exhibition more broadly I began to understand the power of long distance collaboration that WhatsApp allows for. With Jane in the north of Spain and me in London and between us this continuous, low-resolution stream of messages, images, sketches, voice notes, fragments accumulating into something like a shared surface. This process, I think, shaped not only how the objects look but how the whole exhibition came to feel.

1st photo: @richard_round_turner

There was a lecture that Virgil Abloh gave (possible GSD or RCA?) and in a q+a he was asked his favorite tool or software, he answered immediately, almost before the question had finished arriving, WhatsApp. For Virgil WhatsApp was his office, sound recording studio, photoshop, and more all rolled into one. At the time the answer didn’t land with me, a kind of performance of informality, but throughout the development of Jane and I’s collaboration piece and the exhibition more broadly I began to understand the power of long distance collaboration that WhatsApp allows for. With Jane in the north of Spain and me in London and between us this continuous, low-resolution stream of messages, images, sketches, voice notes, fragments accumulating into something like a shared surface. This process, I think, shaped not only how the objects look but how the whole exhibition came to feel.

1st photo: @richard_round_turner

There was a lecture that Virgil Abloh gave (possible GSD or RCA?) and in a q+a he was asked his favorite tool or software, he answered immediately, almost before the question had finished arriving, WhatsApp. For Virgil WhatsApp was his office, sound recording studio, photoshop, and more all rolled into one. At the time the answer didn’t land with me, a kind of performance of informality, but throughout the development of Jane and I’s collaboration piece and the exhibition more broadly I began to understand the power of long distance collaboration that WhatsApp allows for. With Jane in the north of Spain and me in London and between us this continuous, low-resolution stream of messages, images, sketches, voice notes, fragments accumulating into something like a shared surface. This process, I think, shaped not only how the objects look but how the whole exhibition came to feel.

1st photo: @richard_round_turner

There was a lecture that Virgil Abloh gave (possible GSD or RCA?) and in a q+a he was asked his favorite tool or software, he answered immediately, almost before the question had finished arriving, WhatsApp. For Virgil WhatsApp was his office, sound recording studio, photoshop, and more all rolled into one. At the time the answer didn’t land with me, a kind of performance of informality, but throughout the development of Jane and I’s collaboration piece and the exhibition more broadly I began to understand the power of long distance collaboration that WhatsApp allows for. With Jane in the north of Spain and me in London and between us this continuous, low-resolution stream of messages, images, sketches, voice notes, fragments accumulating into something like a shared surface. This process, I think, shaped not only how the objects look but how the whole exhibition came to feel.

1st photo: @richard_round_turner

There was a lecture that Virgil Abloh gave (possible GSD or RCA?) and in a q+a he was asked his favorite tool or software, he answered immediately, almost before the question had finished arriving, WhatsApp. For Virgil WhatsApp was his office, sound recording studio, photoshop, and more all rolled into one. At the time the answer didn’t land with me, a kind of performance of informality, but throughout the development of Jane and I’s collaboration piece and the exhibition more broadly I began to understand the power of long distance collaboration that WhatsApp allows for. With Jane in the north of Spain and me in London and between us this continuous, low-resolution stream of messages, images, sketches, voice notes, fragments accumulating into something like a shared surface. This process, I think, shaped not only how the objects look but how the whole exhibition came to feel.

1st photo: @richard_round_turner

There was a lecture that Virgil Abloh gave (possible GSD or RCA?) and in a q+a he was asked his favorite tool or software, he answered immediately, almost before the question had finished arriving, WhatsApp. For Virgil WhatsApp was his office, sound recording studio, photoshop, and more all rolled into one. At the time the answer didn’t land with me, a kind of performance of informality, but throughout the development of Jane and I’s collaboration piece and the exhibition more broadly I began to understand the power of long distance collaboration that WhatsApp allows for. With Jane in the north of Spain and me in London and between us this continuous, low-resolution stream of messages, images, sketches, voice notes, fragments accumulating into something like a shared surface. This process, I think, shaped not only how the objects look but how the whole exhibition came to feel.

1st photo: @richard_round_turner

There was a lecture that Virgil Abloh gave (possible GSD or RCA?) and in a q+a he was asked his favorite tool or software, he answered immediately, almost before the question had finished arriving, WhatsApp. For Virgil WhatsApp was his office, sound recording studio, photoshop, and more all rolled into one. At the time the answer didn’t land with me, a kind of performance of informality, but throughout the development of Jane and I’s collaboration piece and the exhibition more broadly I began to understand the power of long distance collaboration that WhatsApp allows for. With Jane in the north of Spain and me in London and between us this continuous, low-resolution stream of messages, images, sketches, voice notes, fragments accumulating into something like a shared surface. This process, I think, shaped not only how the objects look but how the whole exhibition came to feel.

1st photo: @richard_round_turner

There was a lecture that Virgil Abloh gave (possible GSD or RCA?) and in a q+a he was asked his favorite tool or software, he answered immediately, almost before the question had finished arriving, WhatsApp. For Virgil WhatsApp was his office, sound recording studio, photoshop, and more all rolled into one. At the time the answer didn’t land with me, a kind of performance of informality, but throughout the development of Jane and I’s collaboration piece and the exhibition more broadly I began to understand the power of long distance collaboration that WhatsApp allows for. With Jane in the north of Spain and me in London and between us this continuous, low-resolution stream of messages, images, sketches, voice notes, fragments accumulating into something like a shared surface. This process, I think, shaped not only how the objects look but how the whole exhibition came to feel.

1st photo: @richard_round_turner

Through a reinterpretation of the traditional floral motif, I continue my exploration of modern machine lace. Hand-worked graphics are digitized into a dense floral pattern and produced by a factory in France. Flowers from the curtain were incorporated into the large silk pendant light with hand-embroidered silver thread.

Both works were presented for the first time at @alcova.milano

Photo: @richard_round_turner

Through a reinterpretation of the traditional floral motif, I continue my exploration of modern machine lace. Hand-worked graphics are digitized into a dense floral pattern and produced by a factory in France. Flowers from the curtain were incorporated into the large silk pendant light with hand-embroidered silver thread.

Both works were presented for the first time at @alcova.milano

Photo: @richard_round_turner

Through a reinterpretation of the traditional floral motif, I continue my exploration of modern machine lace. Hand-worked graphics are digitized into a dense floral pattern and produced by a factory in France. Flowers from the curtain were incorporated into the large silk pendant light with hand-embroidered silver thread.

Both works were presented for the first time at @alcova.milano

Photo: @richard_round_turner

A reinterpretation of the traditional floral motif within a continued exploration of contemporary machine lace.

Starting from drawing, watercolour, collages to final digital file handed to the factory.

Presented for the first time at @alcova.milano

Photo: @richard_round_turner

A reinterpretation of the traditional floral motif within a continued exploration of contemporary machine lace.

Starting from drawing, watercolour, collages to final digital file handed to the factory.

Presented for the first time at @alcova.milano

Photo: @richard_round_turner

A reinterpretation of the traditional floral motif within a continued exploration of contemporary machine lace.

Starting from drawing, watercolour, collages to final digital file handed to the factory.

Presented for the first time at @alcova.milano

Photo: @richard_round_turner

A reinterpretation of the traditional floral motif within a continued exploration of contemporary machine lace.

Starting from drawing, watercolour, collages to final digital file handed to the factory.

Presented for the first time at @alcova.milano

Photo: @richard_round_turner

A reinterpretation of the traditional floral motif within a continued exploration of contemporary machine lace.

Starting from drawing, watercolour, collages to final digital file handed to the factory.

Presented for the first time at @alcova.milano

Photo: @richard_round_turner

A reinterpretation of the traditional floral motif within a continued exploration of contemporary machine lace.

Starting from drawing, watercolour, collages to final digital file handed to the factory.

Presented for the first time at @alcova.milano

Photo: @richard_round_turner

A reinterpretation of the traditional floral motif within a continued exploration of contemporary machine lace.

Starting from drawing, watercolour, collages to final digital file handed to the factory.

Presented for the first time at @alcova.milano

Photo: @richard_round_turner

A reinterpretation of the traditional floral motif within a continued exploration of contemporary machine lace.

Starting from drawing, watercolour, collages to final digital file handed to the factory.

Presented for the first time at @alcova.milano

Photo: @richard_round_turner

A reinterpretation of the traditional floral motif within a continued exploration of contemporary machine lace.

Starting from drawing, watercolour, collages to final digital file handed to the factory.

Presented for the first time at @alcova.milano

Photo: @richard_round_turner

A reinterpretation of the traditional floral motif within a continued exploration of contemporary machine lace.

Starting from drawing, watercolour, collages to final digital file handed to the factory.

Presented for the first time at @alcova.milano

Photo: @richard_round_turner

A reinterpretation of the traditional floral motif within a continued exploration of contemporary machine lace.

Starting from drawing, watercolour, collages to final digital file handed to the factory.

Presented for the first time at @alcova.milano

Photo: @richard_round_turner

A reinterpretation of the traditional floral motif within a continued exploration of contemporary machine lace.

Starting from drawing, watercolour, collages to final digital file handed to the factory.

Presented for the first time at @alcova.milano

Photo: @richard_round_turner

Collaborating for the first time On The Soft Edge brings the material contrast of steel and lace to the fore where each material’s assumptions are questioned, played with, and embraced.
Here their low stools combines lace “puntillas” cushion over hammered steel volumes.

Presenting this week at @alcova.milano’s Baggio Military Hospital.

Photo: @richard_round_turner

Collaborating for the first time On The Soft Edge brings the material contrast of steel and lace to the fore where each material’s assumptions are questioned, played with, and embraced.
Here their low stools combines lace “puntillas” cushion over hammered steel volumes.

Presenting this week at @alcova.milano’s Baggio Military Hospital.

Photo: @richard_round_turner

Collaborating for the first time On The Soft Edge brings the material contrast of steel and lace to the fore where each material’s assumptions are questioned, played with, and embraced.
Here their low stools combines lace “puntillas” cushion over hammered steel volumes.

Presenting this week at @alcova.milano’s Baggio Military Hospital.

Photo: @richard_round_turner

We are excited to present an expansion of Jane’s lace works and Jesse’s steel pieces alongside a series of collaborations. On The Soft Edge is a reinterpretation of material stereotypes.

On view now @alcova.milano Baggio Military Hospital!

Third Floor, C29
Casa delle Suore
Alcova, Milano
April 20-26

Photo: @richard_round_turner

We are excited to present an expansion of Jane’s lace works and Jesse’s steel pieces alongside a series of collaborations. On The Soft Edge is a reinterpretation of material stereotypes.

On view now @alcova.milano Baggio Military Hospital!

Third Floor, C29
Casa delle Suore
Alcova, Milano
April 20-26

Photo: @richard_round_turner

A look back at August’s ‘Dry Cleaning’ show @maxradfordgallery . Raschel’s lace curtain shot on film by @edrollitt in the dreamiest sun ✨

Finally posting these from ‘Dry Cleaning’ @maxradfordgallery back in August @clink_street_ceramics

Showing Raschel’s Fantasy lace curtain and lighting, here next to Jesse’s chair 🫶🏻

📷 @edrollitt

Raschel’s Windows - a series of hybrid wall lamps exploring the interplay of lace and light.

So exciting to reveal new work for ‘Dry Cleaning’ curated by @maxradfordgallery with @clink_street_ceramics 💡✨

Raschel’s Windows - a series of hybrid wall lamps exploring the interplay of lace and light.

‘Dry cleaning’
Saturday Sunday, 11am- 6pm
16 Winchester WatK4SEI 9AQ

‘For Bitten Fruit’
Offering more than one door to fly away, this duo of birdhouses, hanging like forbidden fruit, playfully invites us to rethink the conventional nest box. Referencing the Tree of Knowledge, the snaky rope coiled around the tree holds its fruit in place, not to tempt, but to remind us that nature isn’t ours to chase or consume.

On view for the next two years as part of the group show ‘Dwellings, Rehomed’ in the garden of the @designmuseum, London.

Special thanks to my @jesse__butterfield @computer___room and Naomi Zaragoza for tying it all together (literally).

‘For Bitten Fruit’
Offering more than one door to fly away, this duo of birdhouses, hanging like forbidden fruit, playfully invites us to rethink the conventional nest box. Referencing the Tree of Knowledge, the snaky rope coiled around the tree holds its fruit in place, not to tempt, but to remind us that nature isn’t ours to chase or consume.

On view for the next two years as part of the group show ‘Dwellings, Rehomed’ in the garden of the @designmuseum, London.

Special thanks to my @jesse__butterfield @computer___room and Naomi Zaragoza for tying it all together (literally).

‘For Bitten Fruit’
Offering more than one door to fly away, this duo of birdhouses, hanging like forbidden fruit, playfully invites us to rethink the conventional nest box. Referencing the Tree of Knowledge, the snaky rope coiled around the tree holds its fruit in place, not to tempt, but to remind us that nature isn’t ours to chase or consume.

On view for the next two years as part of the group show ‘Dwellings, Rehomed’ in the garden of the @designmuseum, London.

Special thanks to my @jesse__butterfield @computer___room and Naomi Zaragoza for tying it all together (literally).

‘For Bitten Fruit’
Offering more than one door to fly away, this duo of birdhouses, hanging like forbidden fruit, playfully invites us to rethink the conventional nest box. Referencing the Tree of Knowledge, the snaky rope coiled around the tree holds its fruit in place, not to tempt, but to remind us that nature isn’t ours to chase or consume.

On view for the next two years as part of the group show ‘Dwellings, Rehomed’ in the garden of the @designmuseum, London.

Special thanks to my @jesse__butterfield @computer___room and Naomi Zaragoza for tying it all together (literally).

‘For Bitten Fruit’
Offering more than one door to fly away, this duo of birdhouses, hanging like forbidden fruit, playfully invites us to rethink the conventional nest box. Referencing the Tree of Knowledge, the snaky rope coiled around the tree holds its fruit in place, not to tempt, but to remind us that nature isn’t ours to chase or consume.

On view for the next two years as part of the group show ‘Dwellings, Rehomed’ in the garden of the @designmuseum, London.

Special thanks to my @jesse__butterfield @computer___room and Naomi Zaragoza for tying it all together (literally).

‘For Bitten Fruit’
Offering more than one door to fly away, this duo of birdhouses, hanging like forbidden fruit, playfully invites us to rethink the conventional nest box. Referencing the Tree of Knowledge, the snaky rope coiled around the tree holds its fruit in place, not to tempt, but to remind us that nature isn’t ours to chase or consume.

On view for the next two years as part of the group show ‘Dwellings, Rehomed’ in the garden of the @designmuseum, London.

Special thanks to my @jesse__butterfield @computer___room and Naomi Zaragoza for tying it all together (literally).

Using mechanical lace, Raschel’s Fantasy re-contextualise these seemingly mundane textile objects within the uncanny skyline of hyper-globalized megacities.

Installed within the context of @schlosshollenegg , the piece invites viewers to reflect on themes of heritage, nostalgia, and the tension between utility and ornamentation. It transforms the act of looking, both inward and outward, into a dialoque between tradition and modernity, the local and the global.

Knit and Weave exhibition at Schloss Hollenegg
Curation by @joh.pic @alicestori
03.05. - 01.06.2025

Using mechanical lace, Raschel’s Fantasy re-contextualise these seemingly mundane textile objects within the uncanny skyline of hyper-globalized megacities.

Installed within the context of @schlosshollenegg , the piece invites viewers to reflect on themes of heritage, nostalgia, and the tension between utility and ornamentation. It transforms the act of looking, both inward and outward, into a dialoque between tradition and modernity, the local and the global.

Knit and Weave exhibition at Schloss Hollenegg
Curation by @joh.pic @alicestori
03.05. - 01.06.2025

Using mechanical lace, Raschel’s Fantasy re-contextualise these seemingly mundane textile objects within the uncanny skyline of hyper-globalized megacities.

Installed within the context of @schlosshollenegg , the piece invites viewers to reflect on themes of heritage, nostalgia, and the tension between utility and ornamentation. It transforms the act of looking, both inward and outward, into a dialoque between tradition and modernity, the local and the global.

Knit and Weave exhibition at Schloss Hollenegg
Curation by @joh.pic @alicestori
03.05. - 01.06.2025

Using mechanical lace, Raschel’s Fantasy re-contextualise these seemingly mundane textile objects within the uncanny skyline of hyper-globalized megacities.

Installed within the context of @schlosshollenegg , the piece invites viewers to reflect on themes of heritage, nostalgia, and the tension between utility and ornamentation. It transforms the act of looking, both inward and outward, into a dialoque between tradition and modernity, the local and the global.

Knit and Weave exhibition at Schloss Hollenegg
Curation by @joh.pic @alicestori
03.05. - 01.06.2025