DesignHER is a platform that celebrates the vision, craftsmanship, and innovation of women in design. By curating stories from leading female designers, artisans, and creatives, our latest series, in collaboration with Women Create, offers an intimate look at the diverse paths these women take to shape their industries and their own businesses. Through thoughtful interviews and features, the platform illuminates the artistry and technical mastery that define their work, while exploring the deeper narratives of creativity, resilience, and leadership. DesignHER honors the unique perspectives of women, fostering a community where design excellence and empowerment intersect to inspire the next generation of trailblazers.
Amy Mellen is a passionate, creative designer for home lifestyle. Following 17 years as the creative director of Calvin Klein Home, she now operates Amy Mellen Studio, an art and design consultation practice. Drawing inspiration from her extensive travels as well as her connection with nature, Amy has always been very hands-on painting, drawing and sculpting to work out an idea; all of which she utilizes as a creative consultant for commercial and independent projects. Learn more about Amy’s creative process in today’s DesignHer, and peruse her latest works via KRB NYC.
In what ways do you feel your work contributes to the representation of women in the art and design world?
Amy Mellen: I feel my work is significant because of the age at which I decided to pursue my art. There are so many women who have raised families or ended their careers who can ‘’start over’’ and pursue something they’ve always dreamed of but didn’t have the time earlier in life. I’ve always admired artists like Beatrice Wood, who had her first solo show at 67, and Mary Delany, who started her florals at 72.
While we often discuss women/men’s advantages and disadvantages, prejudice against age is as important. If you believe in your idea, you can begin at any age.
Emerald and Jasper Scagliola Plinth.
Can you discuss any female artists or designers who have influenced your work?
AM: I’ve always been drawn to the way independent women artists live, the lifestyle is as important as the work to me. Georgia O’Keeffe created Ghost Ranch from nothing and created her own world and was true to herself. I’ve always been a huge fan of Charlotte Perriand’s lifestyle and designs, you can get a sense that she lived life well.
How do you see the future of women in the artisanal craft industry?
AM: We are at a turning point with so many incredible organizations recognizing and celebrating high-end craft, like the Loewe Craft Prize, London Craft Week, and Heritage Crafts.
They are showcasing so many talented female designers; it’s such an exciting time to see what they are making.
Lapis Blue Scagliola Plinth.
Can you tell us a bit about your background and how you got started in your craft?
AM: I left my career as creative director for Calvin Klein Home. I had been at the company for 17 years, and it was a dream job. I thought, what am I going to do now? What is my own personal aesthetic?
It took a while, but I saw a picture of a table top in AD and looked up the material, Scagliola. I had never heard of this material, and the more I dug into it, I was surprised at how few people were making it and how little there was on how to make it. I began researching old papers and experimenting for almost a year, teaching myself how to make it.
The next step was deciding what I wanted to make out of it. It can mimic marble, so you can create versions that may look like something found in the natural world, but wonder if it’s from a quarry or is it modern? Then I started creating shapes, and the possibilities are endless.
A larger grouping of Mellen’s plinths, each with its own subtle imperfection, highlighting their handmade character and one-of-a-kind charm.
Can you describe a particularly challenging project and how you approached it?
AM: I was asked to make 96 plinths for Tory Burch Stores to display their jewelry. It was a very tight deadline, and I had never made that many in that time frame, but said, “Sure, I can do that.” I had no idea when I started the amount of labor it would take, and on top of that, there was a plaster shortage, so I was spending more money on shipping than what the plaster costs.
I worked 7 days a week and, by some miracle, managed to finish everything on time. Now I’m a little more cautious about my estimates.
Can you talk about a piece or project that holds special significance to you and why?
AM: I always wanted to make a footed bowl. The material I use has the consistency of cream cheese, so it will not support itself. I finally managed to get a supported uniformed bowl perfectly supported, and what it made me realize is a new way to look at other artists and respect the time and thought that goes into their work.
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