Originators by MATTE presents Kristen de la Vallière


Kristen de la Vallière is a design curator, consultant, and media producer based in Paris. She curates design projects and exhibitions internationally as well as working on creative communications and art direction with independent designers, galleries and design brands. She also runs the curatorial design platform for contemporary design “say hi to”

Originators by MATTE presents Kristen de la Vallière

You studied graphic design and photography, and worked in photo, events, and visual merchandising, how does your skills and previous experiences are helping you today as a curator and creative consultant?

I actually do not have a bachelor's degree, so I'm a double dropout. I went to university twice. One time for photography and anthropology, a second time for graphic design. I was never able to graduate unfortunately, because in the States, university is quite expensive and I had parents that were not willing to support me in that. But nevertheless, I mean, I think that I'm an incredibly ambitious woman. I never really see anything as impossible. I just figured out how to do it. Which is probably how I ended up later becoming a producer.

My first job, I was a Visual merchandiser. I think I was 20 years old. And I was given an obscene amount of responsibility for such a young age, which I'm so thankful for because I guess it's one of those cliches, this amount of responsibility and pressure either breaks you or makes you into a diamond. So I'd like to think I became a bit of a diamond.

I think this was so important for me to kind of learn how to work with teams. What it's like working for a huge company, working your way up the ladder, paying your dues, management, being creative, but also like this business side of things, which then led me to production. My father is a television producer, so it was kind of a no brainer that I eventually would do production.

I grew up on set in New York, experiencing that and being an unpaid runner for my father for many years.

I feel like everyone should have to do production if you want to work in a creative industry or have your own creative business, consultancy agency. You learn absolutely everything you need to in a very short amount of time because there's so much pressure and such long hours. You can't really afford to make mistakes or you can't do it. It's not the most difficult job, but it's certainly very challenging and very stressful.

It's a job where you need to not only learn how to work with huge teams and budgets, sometimes difficult personalities, last minute changes and everything at the fastest pace you could ever imagine. I think it will never get more stressful than being on a high fashion production and working 17 hours per day for a week straight - in my personal opinion - life can only get easier after that.

I think this absolutely made me. After that I finally had the tools to be able to step more into the creative role because I had the business tools and once you have them, you can kind of do everything. I'm actually really happy that I did not finish university, because I would have gone straight into my creative path and I think I would have been too naive. Everything that I learned in production in my first visuals management job, it was absolutely necessary to thrive as an adult professional woman with her own business.

Images courtesy of KdlV - Collectible Furniture - Kwangho Lee

Where did the inspiration to create “Say hi to” come from?

After several years working in production, I realized that as much as I could continue to do it and there were aspects of it I enjoyed, I think it takes a very special type of personality to be a producer and I don't think that I'm the type of person that thrives under that type of pressure. I also wanted a more creative role and a less organizational role in my career. At the beginning, I didn't feel confident enough to be the Creative, so I wanted to at least be involved and support the creatives, which I still do, which led to "Say hi to". I think my career has been several stepping stones of evolution towards becoming a Creative, but at the beginning, I didn't feel like I could be the Creative, so I wanted to support them as a producer.

Second, I wanted to start "Say hi to" because I wanted to change my career. So I realized that I was not made to be a producer. But what do I do? I don't have a degree, I lived in Germany, I didn't speak German. I'm from New York, by the way.

In Germany. You absolutely need a lot of papers and degrees, diplomas, et cetera, to have specifically in the field of work that you want to go into, which I didn't have. So when you have these type of limited opportunities, you have to get creative and figure out your next steps. Which is where I thought, okay, I'm going to quit my job - I was working at a production company- and I'm going to give myself 8 hours per day. Like an office job, office hours for the next three months. I bought a one way ticket to Paris and I said to myself: at the end of these three months, I need to know what I'm doing when I get to Paris.

I was interested in film. I wanted to become either a director or director of photography. I was interested in photography and I was interested in furniture design. The first two, of course, I knew about because I studied photography and my father is a producer. Secondly, I knew absolutely nothing about furniture, but I was interested. So I decided that I would give myself this kind of full time job, office hours, where I made a very detailed schedule of every day where I needed to spend let's say Mondays was film day. I would spend 2 hours in the morning reading every single contemporary film blog and magazine for 2 hours. Then I would research the directors I was interested in. I would spend several hours every day watching their entire breadth of work. Then I would watch YouTube videos about how to get into this field, so on and so forth. I did this for film photography as well as furniture design.

Over a three month period, those were the three topics that I researched into every day, in a very organized way.

At the end of it, I decided to keep track. I was discovering so many incredible furniture designers, and I had no exposure before this to the world of functional art or collectible design. I had only ever really known about mass produced furniture.

I started a tumbler at the very beginning and then Instagram soon after, at a time when nobody was using Instagram for anything other than showing their friends and their pets and whatever. I was one of the first to use it in a tumblersque type of way or in a blog type of way, and I started just archiving all of the furniture designers I was interested in that I was discovering during this research phase where I wanted to change my career. At the end of those three months of research, it really just came to me - this is something I'm interested in.

I had a beautiful apartment in Berlin. I wanted to acquire these pieces for my home and not have this kind of flat, pack, ikea, sterile apartment. And I thought, wow, if I don't know about this, and I work in creative fields, I'm sure there's so many people like me that also want their home to be filled with these kind of incredible bespoke furniture art pieces. So, I said, okay, I think this is a niche I could get into, and there's a business there.

There wasn't much support or exposure for these designers, and it was such a new domain in design. Of Course there were Pierre Jeanneret and Charlotte Perriand and all of these designers from 100 years ago - it's not like it didn't exist - but I think there is this collectible design movement that has really opened up and expanded and evolved in the past ten years. So I wanted to get involved. I said, okay, let's do it.

Images courtesy of KdlV - Korean Design Workshop x PUIG - Experimental ceramics by  Jongjin Park

Then it also came from necessity. I moved to Paris and there I had another roadblock. I did not speak French and  I was not able to afford the lifestyle or have the career that I had in New York and Berlin before that.

While learning French I decided to start an online magazine. I thought I needed to keep producing if I wanted to go get a job after.  I could not show a gap in my career. It kind of started like that and then it just completely snowballed and exploded into something much bigger than I ever expected it to be. I guess it was probably the most important experience, discovery, path, that I've ever kind of accidentally taken in my life. That was in 2015.

I did have some small jobs here and there, but I never really worked for a company ever again, "Say hi to" became my career.

What do you like the most about your studio visits?

I think studio visits are absolutely my favorite part of my job.

Not only do I get to hang out with incredible creatives all over the world and see where they work, how they work, and really get to know them in more of an informal way, but I think when you get to see someone's space, you get to learn a lot about them, their context, and their culture. It's such a privilege, because these are spaces that are normally inaccessible to the public.

To have the trust and the invitation from a designer or an artist to kind of enter their world, it's the most exciting part of my entire job.

When you go to a designer studio, you'll see indicative things that will lead you to questions that you may not have otherwise asked, which then gives me insight into how this designer works.

If, for instance, I have a brand that comes to me, or I have, let's say, a hotel, and they want to commission 200 lamps from a collectible designer for their hotel, since, I'm doing studio visits with these designers, I understand the size of their team, the size of their workspace, their capabilities, what materials they work with, how long it takes to build and make things.

All of those things are extremely important for me to know. Maybe we can say that both these two designers make amazing lamps. But if I didn't do the studio visit, I wouldn't know which one of those two designers would be most capable to handle specific jobs.

I think that this is one of the most important factors of how studio visits inform my practice as a curator and also as a consultant, making matches between designers and brands and or hotels, etc.

Also just building relationships. When I meet someone in their studio, it's all automatically going to be more intimate between both of us. And I think with a lot of the designers that I've done studio visits with, we've actually kind of built real friendships and professional relationships afterwards.

I can't say enough how this is the best part of my job.

Takuro Kuwata work at KAMU kanazawa contemporary art museum
Image by KdlV

Can you share why you decided to travel to Japan and also keep Asia at the center of your recent research?


I'll start by answering this question, by explaining a little bit about my philosophy of how I structure my practice and life a little bit. I travel eight or nine months of the year, and I've certainly purposefully built my career in this way so I would be able to be flexible and able to live in this way and work in this way., I'm still working like a maniac, but I do something different all the time. The way that I structure my practice and my life is I kind of think of winter as a kind of nesting time and cocoon. A lot of projects are not happening in winter.

There's obviously the holidays and then budgets are still being confirmed, etc. so I like to take these two or three months and leave Paris and go somewhere completely new and work from there, research, dive into the culture,  and I like to go alone at it  is the only way that I'm going to meet local people, learn some of the language, really get an experience, and really observe and indulge in the culture that I'm in, open myself up to the possibility of really connect with people who live there, creating relationships with them, where they trust me enough to invite me into their worlds and to their communities and want to be in a place where they want to share their culture with me more than just getting a drink.

Last year I did Costa Rica, the year before Mexico, now Japan and Korea. And next year I have no idea.

There's quite a magic about Japan that gets people a little bit obsessed.  I was so obsessed, still obsessed. But my first love was absolutely Korea

Korea was the first place I really traveled to in Asia and researched and learned about before I came to Asia. That all started several years ago when I read an article about Kwangho Lee, who's my favorite designer in my subjective opinion.

He's the best. Kwangho Lee who's from Seoul. So I read this article about him, and then I started to research more into what was happening in South Korea and I was shocked. There was so much happening and we were not hearing about it in Western media. This really ignited this fire and I dug into it. I started writing about Korean design, all the time featuring it, and that led me to getting a lot of projects with Korean brands, actually, that wanted to come to Europe. And then I got invited to be a judge in a competition in Korea and I also got invited to speak at three different conferences in Korea. So I actually had the opportunity to go there, and that opened up a whole new world for me. And it became a huge source of inspiration. And also the connections I made have led to so many projects and different creative avenues.

At the end of one of my trips to Korea, I hopped over to Japan for ten days, which was the first time I had ever been to Japan, and I was like, oh my God, I get it, I get it. Japan is so magical in so many ways.

I think what got me - and so many other people - addicted to Japan is that there are so many layers.

I have this insatiable curiosity about the world.

Japan is the only country I've ever visited where I feel like I could live here for 200 years and I would never run out of things to learn about.

I think that there are endless things to learn about and to uncover. And there's just so many layers to this culture, especially creatively.

There's history that's steeped in a kind of a lot of mystery. A lot of things are not obvious and are kind of inaccessible to everyone, including many people that live here, like many hidden worlds within hidden worlds within hidden worlds. And then also so much ritual, which I think it's extremely beautiful, and it's so detached from the reality that I live in my context at home, where the only ritual I have is probably my skincare rituals at the end of the day.

This extreme attention to detail especially within the context that I work. I'm interested in craft and architecture and a lot of artisan crafts are being lost with the older generations especially in Japan, not so many people interested in learning a lot of these ancient crafts, which are hundreds of years of material knowledge. I think I just desperately wanted to see it while I could and get involved and experience it and talk to people that were practicing these things.

There's also the obvious aesthetic pursuits. I think that I'm personally very interested and touched by Japanese interior aesthetics and wabi-sabi concepts and just the delineation of space, how space is used or how the lack of space is used.

Note from Editor  {Wabi-sabi is a concept that motions us to constantly search for the beauty in imperfection and accept the more natural cycle of life}

There have been many great architects, artists. Frank Lloyd Wright {NfE - American Architect} came and did a period of time here because he couldn't get enough of Japan.

Yves Klein {NfE - French Artist} also came here and could not get enough, and it influenced his practice. I mean, we could go on forever of different notable artists and architects who have come here and had this country and culture make a huge impact on their work. So I guess I felt that pool myself, and I wanted to see how it would influence my practice and my perspective.

Atelier Sohn in Seoul - work by Donghoon Sohn
Image by KdlV

What fascinates you the most about Japanese culture and heritage?

What doesn't fascinate me about Japanese culture and heritage? I mean, I think it's just the fact that it's endless. Even when I think I'm getting somewhere with research, I still have so much more research to do. And that's really thrilling to me.
In terms of design, I love Urushi lacquer.

I think it's so beautiful. And this is not deeper than my own aesthetic tastes, but I really love this craft.

I'm also fascinated with Japanese joinery and the entire culture of architecture. In Europe most things are made of stone and built to last hundreds and hundreds of years, for instance, my apartment building in Paris I think is 300 or 400 years old and still it is a functioning apartment building in a big city. In Europe and in the United States, the structures on the land go up in value over time..

In Japan, it's the opposite. The older the building gets, the less it's worth because there's so many abandoned houses here. I was really curious about why, because they're beautiful and with beautiful landscapes around them - I mean, that's a whole nother topic that could take forever to get into - but I'm very interested in the field of architecture in this country, contemporary architecture.

I'm also very curious about the ancient craft, not only of Japanese joinery, but the way to work with space, the multifunctional spaces, how you can change the functionality of a space. You don't have a dining room or a bedroom or living room. It can all be the same space and rearranged based on the need that you have. And then also using the emptiness to create a mood, also using lightness and darkness in creating an atmosphere and a mood for appreciating nature.

Also the harmony of architecture with nature, not only with the materials, but with how you can kind of remove all of the screens to leave the architecture open to the wilderness that's on the other side of it, so that you can kind of live harmoniously with that.

I think all of these things, these principles and philosophies and things that you have to dig in deeper past the aesthetics of space to understand all of these philosophies behind them, which there's a philosophy behind everything, I'm completely enthralled with that.

There's so many subcultures in Japan, there's this contrast of this idea of traditional Japan, the architecture, the nature, the rituals, the peace, kind of living in a peaceful, harmonious way that's very calm and reflective. And then there's also this chaotic neon blue hair, crazy pimped out fingernails and Otaku culture, which is kind of one of these subcultures of people that get very obsessed with a very specific topic.

The various layers of this hyper-futuristic contemporary culture in contrast to the traditional culture and then seeing them merge - these two extremes also exist within culture, within people and how to navigate that. I'm really fascinated by this duality.

Originators by MATTE presents Kristen de la Vallière

Work by Leo Orta
Via @sayhito_

We know that Say hi will be relaunched soon  - What is the estimated launch date?
Can you share with us and anticipate some new tools about it?
We heard that there is going to be the chance to be part of your club. Can you tell us more about it?

We're going to have a soft launch on April 5th. We have many, many features that will be launched subsequently, little by little, throughout the year, the next year or two. But we are going to launch the base platform April 5th.

In the past, we had an online magazine. I thought that there were enough good design magazines, and we were not necessarily answering a need. It was working for a while, and then it was my decision to say, I don't think that we need this. Next. How can we evolve?

So I closed the website, and then an idea came to me, and I said, you know what we're missing? We need a directory of designers. And also, you know what we're missing? Whenever I'm traveling, like I said, maybe eight or nine months of the year, of course there are guides to hotels and restaurants, etceteras, but when I travel, I'm trying to find designers, I'm trying to find artisans, I'm trying to find architecture to visit. I'm trying to find very specific museums and kinds of landmarks and or design architecture, contemporary art related spaces, communities and also places to stay and eat, but maybe in a slightly more curated way and also doesn't have to be more luxurious.

If you look up, like, nice hotels in Tokyo, you're going to find super expensive 700 euro a night fancy hotels and that's not what I wanted, that's not who I am, that's also not the community that I've built, that's not who they are, necessarily, maybe some of them, but I think they want different options. So I said, okay, this is what we're going to do. I want to create a platform that has - number one - a directory of designers and contemporary artists and those that blend or blur the line between those two disciplines. I want you to be able to search the directory by location. I want you to be able to search the directory by material that they use in case maybe you are a brand and you're looking to find someone that works with marble or recycled plastic or wood specifically because maybe you're a manufacturer that only creates furniture from wood and you want to find a cool designer to work with. Or maybe you are a journalist and you are going to Korea and you want to find interesting designers for your piece.

I wanted to create a useful tool - that's the first aspect of it.

I wanted to create a useful tool - that's the first aspect of it.

Simultaneously, we are going to have architectural gems in this directory as well that you can go and visit. This is going to take a long time to archive everything, but I'm trying to archive notable contemporary architecture as well as.

Some very interesting traditional architectural spaces from around the world. This is going to take a long time, but I'm in it for the long run, and I think that it's something I've always wanted I'm interested in. You can sort with these different filters from a list, and you can also do map view, and you can see the entire platform as an interactive map, where you can zoom in on, let's say, Tokyo, and you can see all of the designer studios that are in Tokyo.

You can also zoom out, if you are going to Kanazawa, same thing.

I wanted to kind of make that tool because it was something that I very much wanted and needed and I thought other people could use as well.

We will have different features depending on the country. So we've been working right now on the Korean and Japanese features. In the directory you can find your furniture designers - that's what we've always featured in the past - but now we will also have an interview series.

For instance, in Japan, we've interviewed like a love hotel interior design expert or an ikebana architect, a wig artist that draws from traditional geisha hairstyles and takes inspiration from Japanese terrarium and sea life to create these insane incredible wig art pieces.  These are objects and reflective of a kind of contemporary culture and maybe a more interesting size of it that we haven't seen before. That's where we're at.

We will have many things that are going to roll out, we're going to have a subscription club where you can sign up, there will be master classes and meet ups, consulting sessions for emerging and established designers on how to run their business. It'll be something that everybody can afford.

We also put more spotlight on crafts, tell a little bit of the history behind and all together, I think it will paint a picture of contemporary culture as well as history of design and architecture worldwide. I'm very excited about it. I've never seen anything like this before, and I think it's really needed. So why not?

Spoila x Savvy Studio
Via @sayhito_

What projects and collaborations are in your dream list that you would love to develop in the future?

I have so many dream projects and collaborations that it would be the size of an encyclopedia if I said them all. So I'll try to keep it short and just name some of the notable ones that I'd love to do in the next year or two or in the foreseeable future. So, first thing, I have this dream to work with the developer and create a collection of exquisite quality homes, private homes that are rentable around the world. So we can have one in Japan, Mexico, Korea, Kenya, Aarizona, France. and I'd like them to kind of be situated nearby important furniture, design, artisan, craft centers where there are a lot of artisans. For instance, you could say, let's say Kyoto. There's many, many artists, different types of artisans in Kyoto. Create a comfortable and beautiful home where it's a case study that everything we commission every piece that's in the home, all of the furniture will be made with local artisans, and you can purchase everything in the home.

As well as having a very curated, extremely personalized itineraries to help you discover what you need or what you want to achieve on your trip. Obviously, you could use these spaces as, like, relaxation retreats, but I also really want it to be a space that you can go and travel long term. Let's say you want to go for three months - as I'm traveling here in Japan - and have a home and not have to be living out of a suitcase from hotel to hotel to hotel, a place that you can go and stay and research and study and develop projects, almost like a residency.

So, this kind of hybrid of luxury, creative residency where we can also create networks to the local artisans, the local design and architecture communities, and foster new opportunities and cross cultural projects. I would love to have, in short, this boutique collection of private homes around the world where people can use it in that way.

But I need an investor for that or a developer that wants to collaborate with me. I've got everything except the money.

Number two, I definitely want to go into filmmaking. I want to make documentaries about design and craft. I think that this is something that's missing.

Obviously, I want to follow a similar narrative to my website where we kind of cover that country to country and discover the contemporary design landscape as well as the history and the craft. I want to make documentaries, but also I would love to host a TV show on that topic. We already filmed one. Think like Anthony Bourdain traveling the world, except discovering the world through craft, design and architecture and not through food, although I'm sure we'll be eating along the way.

I think those are the two main things I absolutely want to do first.

I would also love to work with fashion brands and hotels to commission emerging and independent designers for their interiors, because there are so many incredible designers. I think it's such a shame to go into spaces with all of these pre-made, uninspiring things. I think that there should be more spaces with objects with stories and histories, and real people behind them that made them with their hands, with their sleepless nights, developing ideas and drawings.

I think my main passion is always going to be supporting the designers that made me fall in love with this industry in the first place.

Can you share with us some designers that you like, maybe that you recently discovered and that you are willing to share?

There are two designers that, for me, are kind of the most important figures in contemporary design right now. In my subjective opinion. Kwangho Lee in Seoul, South Korea and Jeju Island and Fernando La Paz, who is in Mexico City / Tonalá, Mexico.

Both of these gentlemen have created very impressive careers in different ways. Fernando creates collectional pieces which you may have seen at Design Miami or at Friedman Benda in New York. He is based out of Mexico City. You really need to dive into his work and see all of the social aspects that are behind what he's doing. His work is about regenerative design, which is a step further. It's like circular design, a step further than sustainability.

He's also reinvigorated the local economy of a small village in Pueblo, Mexico, where he works alongside he's employed a large percentage of the village and he has created this thriving economy with them, alongside them, not above them, which I think is very important.

He's a great example of a man who has structured his creative practice in a way that is very honorable and still made a profit for himself and gave himself the freedom to create, to express himself creatively. I think it kind of hits three very important aspects.

Kwangho Lee is a designer from Seoul, South Korea. What I love about Kwangho Lee is that he's mastered something that I see most designers fail at, and they don't understand that when they're creating work.

If you want longevity in this industry, there's a lot of one-hit wonders.

Not that there's anything wrong with that - I don't want to shame anyone for doing anything the way they want to - but I think that if we are talking about the type of career trajectory that most of the designers come to me and want to emulate or to have for themselves, I think that Kwangho Lee is an excellent example of who did that in a fantastic way. I think that he's extremely creative, but he's also not reinventing the wheel. He's not going to extremes just to go to extremes.

I think that he takes things like simply knitting or weaving, something that he saw his grandmother doing forever, and then applies that to a new context, using something like PVC and creating furniture out of it rather than sweaters out of yarn. He's working with copper and enamel, a Korean lacquer enamel. He has innovated traditional Korean craft in such a beautiful way and completely re-contextualized it in contemporary design.

A lot of emerging designers want this type of career trajectory, like Kwangho Lee or Max Lamb, so on and so forth and I always tell them: Do you want to know what makes Max Lamb a Max Lamb and Kwangho Lee a Kwangho Lee?

No matter what material they touch, you can always tell that it is them, it's always exceptional.

Especially for Max Lamb, a lot of his work is quite simple, but it makes a huge impact on you.

You don't have to do the craziest thing. A lot of the collectible designers want to push the boundaries of functionality, and that's great, we love to see it, but I think that designers need to pay attention to finding their voice and their vision so that it can kind of transcend any material.

I think with that tool, you would be able to kind of take on any brief.

Work by Kwangho Lee
Images via @_kwangho_lee

Recent discoveries - I'm completely blown away by the work of Tommy Kono (Editor's Note: Tomihiro Kono) who's making wigs. It's not traditionally what I cover, which is more furniture, but it is a functional object. I've never, ever seen an artist that works with hair or with adornment in the way that he does. Especially I love the way that he shares his inspirations behind what he's doing and his interests on social media. I think that you just absolutely need to look at the breadth of his work and understand the painstaking craft that also goes into it. I mean, it's for me, like maximum creativity, maximum craft, and maximum innovation. He's one fantastic discovery for me recently.

I would also say that the work of Audrey Large, a French designer based in the Netherlands. I discovered her a few years ago, but I think she was kind of one of the pioneers of the - I don't want to say just 3D printing - but I've never seen someone do 3D printing in such an innovative and creative way that she has. I think that her first objects that she showed at Nilufar gallery kind of really captured everyone's attention. I'm really interested to see how her career develops and how she applies that creativity to future projects.

There's also a South Korean Korean designer called Honey Kim who makes really beautiful furniture out of acrylic. Normally, I'm slightly more interested in practices these days that are kind of pushing more ecological agendas or addressing some of the ecological issues that we face today. But something that I love about Honey's project that really caught my attention is that there's this exploration into the woman's role in the home through furniture. So you'll see that these pieces are used with very contemporary artificial materials, but they are in the forms of traditional Korean furniture.

They're furniture pieces that were kept in rooms that women traditionally, back in the day, had to stay in because they were not really allowed out, and they were not allowed to work, and they were not allowed to maybe necessarily socialize in the same way that men were. So they were kind of kept in these homes, in these rooms with specific pieces of furniture that she's kind of remade in a transparent material. I think she explores feminism through her work in a very poetic way.

Work by Audrey Large
Images via @audreylrg

Are you also exploring designers specializing in digital architectures or Artificial Intelligence interiors?

Do you think that AI will change the creative process in the design process or somehow change the  market of interior design opening up opportunities to new designers?

I'm mildly interested in AI, I think in the same way about NFTs. I was curious, but I think that my heart really belongs more to craft and material intelligence and human intelligence and working with the hands. So I think I'll never get too deep. I mean, I can't imagine that this is something that I will invest too much in in the future or have that much interest in.

I'm a little bit on the fence of how I feel about it. So at first, I was very excited, and I played with it mid journey myself a lot, and it was so much fun. And then I had a lot of conversations with various designers and artists who were outraged and said: you don't understand, they're able to completely copy someone's style, and designers are going to become obsolete, and you won't need illustrators, and forget it. You definitely won't need curators.

Your job's on the line. And I think I had a huge fear about the future of creativity. On one hand, the business side of me was really excited to kind of streamline and make boring business tasks more efficient. But I think that there was then this fear of especially all the people I care about not having jobs, and just like, this lack of human innovation and touch just feels very depressing to me.

I don't think that human craft and touch will ever be replaced, but I do think that AI will be a fantastic tool to visually sketch out ideas. And I think that with AI, designers and architects will be able to kind of explore many more ideas visually before they start a project

I'm not an architect and I'm not a designer, I can't draw, I can't paint, I can't use any of these programs, I started using AI to kind of design the interior that I envisioned, but I had absolutely no idea how to describe or put it on paper. And I think that with that now I can go to architects and artisans who actually are humans who know how to make this crazy structure. I have an idea for falling down, or can we put a pool on a roof?

Will it fall through, like, in a wooden structure? I don't know. I think that designers and people who are not trained in these fields will be able to better express themselves if they can't do so verbally, but visually. And that is really exciting. I think that we're going to see a lot more creativity, because now there will be an accessibility and a democratization of visual expression that then can be handed to the experts to create tangible objects, spaces, and so on.

I don't think humans will ever be replaced. And I really hope I'm right on that.

Deep Snow by Joe Mortel
Via @sayhito_

Originators by MATTE presents Kristen de la Vallière

Interview by Francesca Valente - Talent Director