Nina Yashar and Conie Vallese on Space, Substance and Sensibility
Nina Yashar and Conie Vallese at Nilufar in Milan, photography Piotr Niepsuj for HURS with the Ceiling lamp Um by Arthur Duff.
Nina Yashar & Conie Vallese
Nina Yashar and Conie Vallese on Space, Substance and Sensibility
By Bonnie Langedijk
Taste is more than preference—it’s intuition, exploration, and a way of moving through the world. For Nina Yashar and Conie Vallese, it is a continuous evolution, shaped by curiosity, exposure, and an appreciation for contrast. Yashar, one of the most influential voices in the world of design and the visionary behind Nilufar, has built a universe where eras, materials, and ideas collide. Vallese, an artist who moves seamlessly between sculpture and design, embraces imperfection, fluidity, and time.
Curiosity, intuition, and an ever-expanding sense of taste connect them. For both, taste is neither static nor prescriptive; it’s a behavior, a perspective, a negotiation between past and present. Their work—whether in a Milanese gallery or a sculptural form—favors feeling over convention. Here, they meet in conversation, exploring the balance of form and function, the weight of history in contemporary design, and the endless process of refining a point of view.
The Velanova Chandelier by Joe Armitage at Nilufar, photography Piotr Niepsuj for HURS.
Conie Vallese and Nina Yashar at Nilufar, photography Piotr Niepsuj for HURS. Featuring the Collide Round Table by Gal Gaon, the Ellipsoeides vase by Object of common interest, a chair by Gastone Rinaldi and the Crown Sofa by Gal Gaon.
How do you relate to the concept of taste?
Conie: I believe that taste—as many other things in life—becomes more clear with age, with time, experience and curiosity. It requires cultivating a broad exposure to influences in order to sharpen a sense of judgment that makes sense. There’s of course a sensibility to it as well; to a refined and thoughtful sense of aesthetics and preferences. It’s personal how we think taste reflects quality, harmony. Taste is for me also a behavior. It’s impossible to say that it is about rigid rules because we are all different but it is also our decision making, how we want to be seen and perceived. And not just aesthetic choices or a category of right and wrong. For me prime good taste is non accumulation, simplicity, kindness, harmony, elegance/behavior, privacy, individuality, confidence, respect, valuing craftsmanship, thoughtfulness, etc., as taste is partially subjective. It’s also important that it comes with emotional intelligence, and appreciation for the differences in styles and perspectives. You want to inspire others with good taste, not intimidate them. Sense of humor about differing tastes and not getting trapped into judgment, and have appreciation for diversity.
Nina: For me, taste is deeply personal yet universal in its impact. It’s not about following trends or conventions but about creating something that resonates emotionally. Most of the time it’s also related to my gut and instinct in what I like at first impact. Taste involves a balance of intuition, knowledge, and a sense of harmony through contrasts. It’s about finding the unexpected beauty in the juxtaposition of seemingly dissonant elements. Over the decades, I’ve had the privilege of travelling extensively and exploring diverse forms of art, design, and architecture worldwide. I’ve always remained curious and open to learning, surrounding myself with talented individuals—from artisans to designers—who have influenced and inspired me. Nilufar itself has been a learning ground, constantly broadening my perspective and shaping my taste.
You both talk about curiosity, travel and broadening perspectives playing a role in developing taste. Does that mean taste is something that’s ever evolving? Something that’s never truly “finished”?
Conie: Yes, I think taste is constantly evolving. On a personal note, recently I have noticed my taste shapes more in concept than aesthetics only, when I realize that I’m embracing to live with less and that I can appreciate objects, spaces without the need to possess them. I’m choosing to accumulate experiences rather than things. I can feel a profound passion for objects without having to own them. To me, having good taste today is about reshaping values.
Nina: Absolutely, I think taste is something that is never truly finished as it is constantly evolving. Travelling, meeting new people, and broadening your perspective are fundamental to that process. Personally, I owe so much to my curiosity and the desire to explore new countries and cultures. But beyond that, I also trust my gut instinct when it comes to taste. It’s this balance between experience and intuition that shapes how my aesthetic evolves over time.
“I’m choosing to accumulate experiences rather than things. I can feel a PROFOUND passion for objects without having to own them. To me, having good taste today is about reshaping values.”
When was the first moment you were aware of design or art?
Nina: I can trace my awareness of design back to my childhood in Iran. I vividly remember the overlapping carpets in our home—each one a masterpiece of intricate patterns and colors. These early memories, steeped in craftsmanship and artistry, shaped my understanding of design as something that can define spaces and evoke emotions. My family provided me with the cultural and entrepreneurial values that have allowed my personal and professional growth. At the age of 6, we moved to Italy and after my studies, in 1979 I opened Nilufar, originally in Via Bigli in Milan, specializing in antique carpets selected from the family business. Thanks to encounters made in Milan, the city of design par excellence, and subsequently in my travels, my knowledge in the field has evolved and deepened more and more.
Conie: When I was a child my mom would take me to the flea markets in the neighborhood of Palermo and San Telmo in Buenos Aires on the weekends. I think it was walking through these markets holding my mom’s hand that I slowly developed a curiosity or affinity for objects. My mom studied interior design and sometimes she would show me her old drawings and designs projects from school. She enjoyed buying pieces of furniture to restore and liked textiles. She would sometimes spend a full Saturday afternoon cleaning her pieces of sterling silver and she would display them all on a big table. I thought it was very peculiar to do that.
You both grew up in families who had an appreciation for design. Are there lessons or values they taught you, you still carry with you today?
Conie: My mom was more a collector of things, but she also knew when it was time to let something go to make space for something new in her home. That’s stayed with me.
Nina: I definitely owe a lot to my father and family, especially for providing me with the cultural and entrepreneurial foundations that have allowed my personal and professional growth. I grew up in Iran surrounded by beautiful textiles and handicrafts, and I was always drawn to the intricate designs and patterns of the carpets that adorned our home. I think that was really the starting point for everything that followed in my life.
You both speak of how a space makes you feel. What makes a space a great one for you?
Conie: For me, above all, a good space has to welcome sunlight and fresh air, a good view if possible. I feel the most comfortable in spaces that are open and uncluttered, where there is room to breathe. I tend to focus more on blending of materials within a space and built-in furniture, clean walls…
Nina: I love a space that feels like a melting pot of different stimuli. Textures, patterns, shapes, earthy and warm colors all play a role in creating an environment that feels intimate and cozy. For me, a space truly comes alive through this heterogeneity of elements.
You both have a distinct point of view. What are your leading principles in your work?
Conie: For me, it’s to work slowly, to take my time. I’m not interested in producing quantities. My approach to my work is often sculptural and I take pleasure in the slow process and to give the work the time it deserves to breathe. That way of thinking and working is meaningful to me. It’s beauty that I’m often searching for, a gentle caress. My purpose is to create something timeless rather than disposable. I value having a recognizable world that continues to evolve. I’m not driven by the relentless pursuit of ‘what’s next’ but by an appreciation for the time and care that craftsmanship requires.
Nina: My guiding principle is always to create a dialogue—between eras, materials, and styles. I aim at building connections between vintage and contemporary, allowing each piece to enhance the qualities of the others. I believe in fostering curiosity and experimentation, whether through curating exhibitions or supporting emerging talents.
Conie Vallese at Nilufar, photography Piotr Niepsuj for HURS.
Dining table by Roberto Baciocchi, Chair by Roberto Baciocchi, Glass by Baciocchi Associati, Plate, Stardust, by Object of common interest at Nilufar. Photography Piotr Niepsuj for HURS.
Conie, you talk about beauty being your pursuit but also about creating a sense of imperfection. For many those two concepts sit on opposite ends of the spectrum. What makes something beautiful to you?
Conie: It’s hard to answer because beauty, for me, is about emotion and character. There is authenticity in something that isn’t trying to be perfect. It's the irregularities, textures, and small flaws that tell a story of sorts and give some soul to a piece. Yes, it’s about creating something that is pleasing to the eye but it’s also about stirring something deeper…
Nina, what do you think are some of the most important dialogues to have in today’s work? And what can we learn from historical or vintage works today?
Nina: Personally, I believe it’s fundamental—and vital—to use the past as a point of reference. Every contemporary work draws from the research and legacy of those who came before us. For this reason, it’s fascinating to see how contemporary art can seamlessly blend tradition with innovation. The past is always a source of inspiration, and it’s through the best examples of history that we can shape the design of the future.
Nina, you're known as being one of the first to pair the historic with the contemporary, while Conie you're known for working across creative disciplines. What's important to both of you to not simply dedicate yourself to a certain design movement or discipline?
Nina: For me, design is at its best when it transcends labels. Pairing different eras together creates a richer narrative and dialogue that reflects the complexity of our times. In this way the pieces involved in the exhibitions could be the centre of a conversation with greater innovation and exploration. It’s not about following a single path but rather about constantly evolving and adapting to new ideas.
Conie: I think that with everything I approach in life, I try to not be constrained by any label. It's a way to understand the constant possibility for change as well as the impermanence of things. My practice embraces experimenting with different materials and ideas as they arise. I like that aperture for what different materials can offer is not a closure to a specific movement or discipline but the beauty of shifting and experimenting to cause different challenges and feelings.
You both talk about evolving and adapting, are there certain places or people who offer this continuous exploration of how you look at the world? I often think our current society has an obsession with the new, but there are so many lessons to be learned from the past too.
Conie: I think there is immense value in looking back and that some of the lessons and perspectives of the past can ground us. The obsession with the new for me comes from an empty place. At times I would love for everything to stop for a minute and to remain still, to see if we could be able to experience and feel more.
Nina: Absolutely. While the excitement and curiosity of discovering something new is undeniable, I believe true growth comes from balancing that curiosity with a deep appreciation for the past. Traveling to different places, meeting people from diverse backgrounds, and exploring various cultures constantly reshape how I see the world. But equally, revisiting historical works, classic architecture, and timeless design principles offers invaluable lessons and an inestimable personal heritage.
What do you think about the balance between form and function?
Conie: Without trying to let these definitions compete, they could go together harmoniously or have a bit of friction. If something is purely decorative it pleases an aspect and perhaps doesn’t serve functionality. For me, the problem is merely the accumulation of things taking up unnecessary space and waste rather than whether it's functional. But if something is beautiful and brings pleasure, but isn’t functional it works for me too.
Nina: Form and function are inseparable. A beautiful object that doesn’t serve its purpose is incomplete, and functionality without aesthetic appeal feels empty. I always look for pieces where these two aspects coexist harmoniously, where design enriches daily life both practically and emotionally. An example for me is the BBPR library: in my opinion, it is the perfect piece of furniture, seamlessly merging form and function. Also Gio Ponti is one of the greatest design masters for his innovative approach to materials and his timeless elegance which capture the perfect balance between aesthetics and functionality - this is one of the reasons why his visionary concepts continue to influence contemporary design.
Nina Yashar at Nilufar, photography Piotr Niepsuj for HURS.
Bronze chair by Conie Vallese. Courtesy of Conie Vallese.
Every period can be distilled to specific design movements or styles. How would you describe the period we're currently in? And what does it say about the world we live in?
Nina: We’re in a period of convergence and experimentation. Design today reflects the complexity of our interconnected world—drawing from history, embracing sustainability, and blurring boundaries between disciplines. This openness and fluidity show our desire to break free from rigid structures and find new ways to express ourselves, while connecting with others.
Conie: I think we live in times that are increasingly difficult to digest. It is disorienting to see so much instability, political, environmental, cultural… Creativity for me is one way that keeps me moving forward. It’s not just about making something but finding ways to feel good and meaningful. Design mirrors this tension too, with the hyper digital approach, but also there’s an overwhelming yearning for grounding. I want to embrace craftsmanship more than ever as we strive to reconcile a fractured world that is confusing us at high velocity.
How can design be a vehicle for connection?
Conie: Design shapes the spaces and objects that influence how we interact with one another.
Nina: Through what we do at Nilufar we always try to build meaningful connections. We believe in transparency, education, and personalized service, and we strive to make any experience at our venues as enriching and enjoyable as possible. Whether it's through curated exhibitions, editorial communications, or one-on-one consultations, our goal is to foster a dialogue between design and art and to contribute to a deeper connection with these forms of craft.
In this interconnected world that’s more and more becoming a global culture, how can design protect and celebrate cultural heritage and diversity?
Conie: Design can protect and celebrate cultural heritage and diversity by acting as a bridge between tradition and innovation. Designers can embrace and honor more cultural identity by incorporating more traditional techniques and craft into contemporary creations ensuring that these elements remain relevant and appreciated within a modern context. Working with artisans and their communities, protecting craftsmanship and its uniqueness.
Nina: I agree with Conie. Design has always been a powerful vehicle that merges tradition with innovation, craftsmanship with contemporary techniques, raw materials with modern technologies. In today’s culture, it’s crucial for designers to not only draw from their own heritage and studies but also to collaborate with artisans and communities to protect and elevate the traditional crafts. This process doesn’t just preserve cultural identity but it brings it into new contexts where it can evolve and thrive.
Across culture, the lines between creative disciplines are blurring. What do you make of this development and do you think it makes design better?
Conie: These blurred lines are there, perhaps as a consequence of the complexity and nature of the times we are experiencing. It’s a sign that design is no longer just about solving problems but enriching and creating new experiences.
Nina: I consider myself a great supporter of interdisciplinarity in design–this makes it more dynamic, relevant, and representative of the multifaceted world we live in. It encourages collaboration and innovation, pushing creative boundaries in ways that wouldn’t be possible within rigid frameworks.
What's a project you haven't worked on yet but would love to do?
Nina: I would love to curate objects beyond design in other fields like fashion, food and who knows, maybe one day we’ll co-create airplanes for trips to Mars.
Conie: It would be lovely to work on a project with Nina.
This interview has been edited and condensed for clarity.
