Cover Vanessa Gaston wearing the Bulak Barong Bib in rust from Niño Franco by Mindanaoan designer Wilson Limon
Vanessa Gaston wearing the Bulak Barong Bib in rust from Niño Franco by Mindanaoan designer Wilson Limon
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In an interview with Tatler, designer Vanessa Gaston narrates how her career has taken her from the Manila corporate world to being one of the exhibitors at the annual Salone del Mobile in Milan
One of the Filipino designers who exhibited in Salone del Mobile, Vanessa Gaston shares compelling insights into design. A deeply intuitive and considerate designer, Gaston’s designs are rooted in a discipline that celebrates her roots.
She converses with Tatler on a range of topics, spanning from what she feels are essential pillars of successful design to agi, the Visayan word for way and its role in shaping her works.
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How did you get started in furniture design? What inspired you to pursue a career in this direction?
When I graduated, I immediately entered the world of corporate high-rise architecture, where I quickly found out it wasn’t for me. I always leaned towards the arts, having been a dancer and an artist from a very young age. I switched completely to the opposite direction of three-dimensional design, to product design which is the smallest but closest to the human scale. I knew that the centre of this kind of creativity was Cebu, so I moved there and took an internship with my mentor, Vito Selma, where I learnt a lot about Filipino materials and forms.
Above Vanessa Gaston in her community-led workshop, Tropique Living, adjusting the Anito Lamp
Vanessa Gaston in her community-led workshop, Tropique Living, adjusting the Anito Lamp
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What is your design philosophy?
Our studio tagline at Vanessa Gaston Designs is “designing with purpose”. Unlike art, design always has to respond to context, even if it’s as simple as creating delight. Human connections are always the centre of our work. We say that we “converse and create” with listening as a central skill for us. We don’t champion the architect as the sole creator. Collaboration with everyone involved is essential to the success of our projects, no matter how difficult the balance becomes throughout the process. We ground our work on local context and materials, family or group dynamics, and the environment. We practice community-based design where we activate local communities of workers or artisans whom we can co-create our project elements with.
Because our work always changes depending on what the circumstances require, we don’t have a distinct visual style. There’s nothing that we impose; in fact, we try to create as much space as we can for the people we work with to pour in their personality and soul into each space that they can call their own. We do have a way or agi in Bisaya, similar to what you would use to describe handwriting. Our agi would be warmth and wonder.
Tell us a little bit about your brand and company, how do the pieces espouse your philosophy?
Since the beginning, we have been a women-led design studio. Not on purpose, but I believe it’s a result of women finding a stable place in the design world, making us a rare place, especially in architecture. Naturally, our work expresses that strong feminine energy of “empathic objects”. We strive to create spaces and objects that people can connect with, not just to see or touch, but to feel. While deep sensitivity can be perceived by the masculine perspective as a weakness, we find that this is the strength we bring to the industry. Design that understands.
Above Vanessa Gaston’s 2025 Collection Common Fabric explores the material process from “leaf to life”
Vanessa Gaston’s 2025 Collection Common Fabric explores the material process from “leaf to life”
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Do you have a favourite piece? Why?
My favourite piece would have to be the Tala Bar Cabinet, from the Tagalog word for “star”, because its beautiful and timeless diamond pattern is unassumingly structural. It’s inspired from the screens or railings of old houses where when vertical and horizontal wooden pieces intersect, a triangular brace is added to form the diamond. It’s such a great balance of strength and beauty, the feminine and the masculine—something that we embody in our design practice.
Are there materials you are attracted to and use more in your work?
Early in my career as a product designer, I was trained to work with rattan, a sustainable renewable resource most similar to bamboo. This piqued my interest in other natural fibres around the Philippines that might be undertapped and have potential in sustainable design. Moving to Negros set the wheels for me to dig deeper into finding ultralocal fibres in the region like seagrass, reeds and endemic palms. My work in Salone was a showcase of the different materials from the Visayas such as sinamay from Negros Oriental (a form of abaca or banana fibre), raffia from Bohol (buri palm fibre) and pineapple paper processed in Negros Occidental.
Why is it good to produce furniture in the Philippines?
The Philippines is one of the few megadiverse countries in the world with a vast variety of material sources and a deep history of handmaking tradition. We have craft practices that are closely tied to our cultural practices and spiritual beliefs such as weaving and carving. Supporting the local production of furniture not only supports our local economy but preserves our cultural memory and tradition. “Pagtangkilik ng sariling atin” is not just about nationalism but is also positive cultural work that each person can take part in strengthening artisanal communities and continuing their legacy for generations.
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Above The Nomad Chair in Bohol raffia textile with the Tala Low Table in solid wood
Above The Marina Fish Basket Lounge, inspired from “bobo” or trap fishing in Negros Island
The Nomad Chair in Bohol raffia textile with the Tala Low Table in solid wood
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Tell us about your Salone experience.
Salone del Mobile attracts close to half a million people a year and is known to be the most important design event of each year. Having qualified for the Salone Satellite, the event dedicated to upcoming designers under 35, was definitely a proud moment for me, having been the only representative from the Philippines. It was a great learning experience to be among other designers from different countries, with their own materials and craft.
How strong was overseas interest in your products when you went to Salone?
Visitors expressed surprise and delight over what are relatively rare or novel materials like the pineapple paper and palm fibres. They complimented the strong sense of place and identity that our collection showed, saying “I know where you are from”. As there are now a number of opportunities for distribution in different continents, it’s something that we’re treading softly when advocating slow-living and responsibly-made. We want to properly communicate the time and care our artisans take to create these items, and the availability of materials that nature offers.
What advice can you offer furniture designers and manufacturers who wish to one day exhibit at Salone?
Carry a larger purpose with you, beyond the pageantry or fashion of objects. You can have depth of beauty in your creations. Design has the power to change existing narratives.
Can you offer any predictions about the future of design?
The pendulum will be swinging back from hyperconsumerism to mindful consumption. We’re going from fast to slow, and from flashy to conscious. We’re going back to our roots of heritage and craft as guides to navigate our desire for sustainability and degrowth. We’re going to enter a new era of creativity where young and established designers are going to practise compassion in different scales and mediums. Wealth and exclusivity will no longer be about expense or quantity but in limited releases and small batches. We’re going to be seeing more courage and authenticity—handmade objects, naturally dyed textiles and culturally rooted expressions.
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Credits
Images: courtesy of Vanessa Gaston Designs
