Most design begins with research.
Trend forecasting. Market mapping. Image archives and mood boards built from references already circulating. In this sense, the future is engineered from what has already been seen.
Venice approaches design differently. She begins with something small: a particle of emotion, a stone, a single object. She describes growing a collection the way a tree grows from a seed. The process does not reverse-engineer and piece together fragments of already existing narratives, instead, her forms unfold forward from instinct.
She describes designing as a form of divination. Not prediction in a corporate sense, but reception and careful listening to everyday objects. In a landscape shaped by repetition and exposure, this approach feels almost deviant. Deep research can refine a concept, but it can also narrow it. Immersion in visual culture often leads back to familiar design pathways. Venice resists that loop, and offers willingness to let meaning and instinct arrive before she fully grasps why.
Her fondness for materials follows this logic. Paper. Tissues. Maps. Objects so common they dissolve into the background of daily life. Venice chooses to frame material (often overlooked) necessities as “a common tongue of all humans”. Even paper in her eyes becomes a shared surface, a universal tongue that everyone can relate to. Within the world of VeniceW, clothing functions similarly, as if each garment were a detail within a larger, universal cartography.
“Some people choose to write a diary as a conversation between their subconscious and the page. Others talk to trees. I am here to explore fashion in this context for people who love clothes.”
The brand itself becomes a place.
She has said that the garments are its citizens, and “these citizens needed to see”. Long before she consciously understood the symbolism, she was embedding eyes into her designs. Hardware that suggested awareness and hinted at embodied presence. Through esoteric study she later connected these gestures to the Eyes of Horus and Ra [1], ancient symbols of protection and duality. The impulse came first, the explanation followed. This sequencing matters, for Venice, symbols surface before she decodes what draws her to them.
The EggPack, one of VeniceW’s earlier bag designs stands apart. It is explicitly an egg — zero, origin, potential suspended in form. It offers a narrative without prescribing one, “it is simple but holds the potential to become anything from a duck to a magical creature like a dragon. It is limitless”, she says. The egg becomes less of an accessory and more a cosmology [2], an object that contains becoming.
Venice does not fix identities onto her objects. She chooses to leave space and encourages the wearer to complete the circuit of meaning. Her practice brushes against the idea of collective consciousness [3]: if symbols can surface through instinct before the designer can name them, then can a design become a conduit of collective understanding? Fashion, in this framework, becomes less about ownership and more about companionship. She speaks about instinctual connection, the human instinct to return to people, to nature, and to dimensions of the self by befriending our clothing and other objects of affection.
In a design system driven by trend cycles, repetition dulls an object’s meaning. Ambiguity allows the wearer to assign meaning and to transmute personal energy onto form and develop attachment beyond novelty.
“This is a territory of free will. The pieces are meant to be up to the wearer, as different people can have the same bag but transmute a different energy and story.”
Her recent clarity around prophecy speaks to the idea of ownership, individualism, and the reflection of a wearer's inner state on the world around it. If the brand is a place, and its garments are citizens, then they must see. They must protect what is innately human. They must hold dual meaning. The designer becomes a receiver, translating signals from a collective field into physical form.
VeniceW does not attempt to control the future. It allows fragments of it to surface through symbol and instinct, anchoring something ancient and human into something contemporary.
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Conducted & Written by Isabel Lotus
Explore VeniceW's work: https://www.venicew.com/about
Follow her Instagram: @venicew
