First, tell us about the highlights of your journey. What were the key steps that brought you to where you are today?
There has been a continuous trajectory shaped by artistic collaborations and architectural projects that together form the experience and identity of our studio today. It began with our first major milestone: our participation in the inaugural London Design Biennale in 2016. That was where we were discovered by Rossana Orlandi, the Milan-based gallerist and talent hunter.
This was followed by our return from London to Athens, marked by our first solo exhibition at Martinos Gallery and our decision to focus on the art of handcraft—what we now call master craftsmanship. At the time, this term was not yet a buzzword, and this decision led to our close collaboration with marble craftsmen from Tinos.
A more recent milestone was the design and curation of furniture and lighting for the villas and communal spaces of Mandarin Oriental, Costa Navarino. Finally, our collaboration with Maria Cristina Didero and the exhibition A Future for the Past, which explored Tinian marble craftsmanship in relation to contemporary design at the Benaki Museum, represents a meaningful contribution to the current marble and design landscape.
How did the idea of exploring a creative perspective through marble objects first emerge, and how has it evolved over time?
We began almost by chance. Niki was searching for lighting for her home and, unable to find what she wanted, decided to design her own. She made it in marble because it was a familiar and readily available material to us, due to our father’s relationship with marble quarries in Greece.
We had an innate understanding of marble, which allowed us to think about it differently. How could a material traditionally perceived as heavy, cold, and rigid become light, translucent, and almost plastic, part of everyday life? Achieving this requires excellent technique. So we evolved our initial knowledge of marble—from its geological nature to its commercial value—into specialized expertise in how it is worked: marble craftsmanship and techno-craftsmanship.
A hard, demanding material seems to come alive in your hands in a uniquely personal way. How has your aesthetic evolved over the years, and where do you feel it is leading you?
Marble is a material that doesn’t need much intervention; it already carries a wealth of information. Our approach is based on a restrained, “just-enough” design that highlights the material’s properties in combination with exceptional technique.
Our aesthetic continues to evolve around the central idea of transformation—from heavy, cold, and rigid to light, translucent, and plastic—with an emphasis on sculptural forms. With our experience in marble techniques and the rapid evolution of technology today, we are expanding the notion of craftsmanship through contemporary methods—what we call techno-craftsmanship. Our aim is to inspire a new generation of creators who support and engage with our work.
This specialization also brings us into contact with rare Greek marbles, which we use both in our own designs and in architectural projects.
What do you consider your most important achievements?
Certainly, the recognition of our work by international galleries with a strong design heritage, such as Rossana Orlandi, Mint Gallery, Martinos Art, and Philia Gallery, is something we have worked toward with consistency and dedication. Another key achievement is the Archiproducts award for our Ray lighting piece, an internationally established design institution.
That said, our most meaningful achievements relate to the dissemination and preservation of marble craftsmanship in relation to design. These contributions may not always be immediately visible, but they are our most direct way of engaging with society and supporting contemporary culture. All of this remains an ongoing process.
How much of Greece exists within your work, and what kinds of references appear?
Our connection to Greece is primarily rooted in the material itself and the techniques we preserve. It is not a conceptual pillar of our design approach, although references do appear, for example, to Greek nature, as seen in the Opuntia collection. These references are not intentional; they simply emerge as part of our identity.
What stories do your handmade works tell?
Many stories. Most are interpretations of nature both in terms of the natural environment and the contradictions found in materials and in the nature of things more broadly. They explore complementarity, balance, grounding, the idea of emptiness and fullness in both physical and inner spaces, and even more existential questions about the awareness of the object and its surrounding space.
Others are more everyday stories: playfulness, companionship, and the beauty of a good, simple life.
How do you complement one another in the creative process?
In practical terms, we each bring completely different skill sets: one of us contributes instinctive creativity and boldness, while the other brings analytical thinking and rational structure. Within the creative process, this balance is invaluable. It makes the process more holistic—and therefore more enjoyable—for us, while significantly reducing the margin for major mistakes, without ever becoming boring or repetitive.
What kind of response do you receive from the public, and how does it help you evolve?
Authenticity and the fact that we create distinctive furniture and lighting pieces that cannot be found elsewhere along with strong craftsmanship, are the most frequent and gratifying comments we receive from a broad audience. We’re also happy that people feel they are investing in a sustainable form of art, because that’s exactly what it is.
For example, a table that brings joy to everyday life while also contributing to the preservation of Greek sculptural tradition. We listen very carefully to collaborators, collectors, and people who truly understand design and our work, and this feedback is extremely valuable on a creative, commercial, and artistic level.
What’s next in your immediate plans?
We are continuing the dissemination of marble craftsmanship through our ongoing project A Future for the Past, beginning with a seminar for marble-craft students, followed by a celebration of marble craftsmanship on the island of Tinos. At the same time, we are focusing on introducing rare Greek marbles to a wider audience, as well as completing our new sculptural collection, Holy Luz.
What are the non-negotiable values in your work?
A strong team and respect for people, design is about people. Authenticity in concept, rooted in our own true stories. And exceptional craftsmanship combined with new technology.
Do you value smaller-scale, more accessible works just as much?
Absolutely. Often the same energy and effort go into conceiving and creating something smaller. These pieces are sold through museum shops or directly by us, and it’s a wonderful feeling knowing that more people get to live with and enjoy our work.
Give us an idea of what you’re preparing for the coming year.
Beyond our immediate plans for seminars, workshops, and rare marbles, we are continuing to develop the Holy Luz collection, focusing on textures and techniques across different types of marble. The collection debuted in Milan last year and will be presented in a more complete form in Greece in 2026.
How has your design philosophy evolved over time, and what do you believe holds particular value today?
Our philosophy is rooted in the belief that design is fundamentally about people, not simply about creating a beautiful or comfortable chair. It emerges from a human-centered process of design and making, and ultimately becomes part of a human experience of use and everyday life, engaging all the senses of the recipient.
Given the rapid pace of technological development and the way things are produced today, this philosophy may be becoming increasingly rare, which makes it all the more valuable.
What would you love to create as a dream project?
A project related to sound and music.
The designers closest to your heart, and why?
Early on in our journey, Michael Anastassiades offered us invaluable advice, and in a way, he continues to hold a special place in our hearts.
Are we defined by what we choose?
Our choices certainly shape us—but we are much more than that.
The last thing you bought, and why you chose it
A Christmas glass snow globe, as a reminder of magic and childhood wonder.
One object you would never want to part with
The sketchbook (Niki) and the piano (Zoe).
Three places you love returning to, and why
The sea, because of its vastness and its calming effect.
Our family and our cats, for the same reason.
London—no matter how much it changes, it always feels like home and continues to inspire us.
Is art and creativity a path toward becoming better people?
Creation is the way we connect with ourselves first, and then with others. So yes—when we are in touch with and understand ourselves, there is better flow, communication, and growth.
Your definition of beauty
An authentic smile.
Harmony between colors, forms, sounds—in essence, balance across the senses.
What do you consider authentic today?
Anything that deeply moves the body.
Honesty in the creative process.
If you were to design something for TheAuthentics.gr, what would it be?
A magical light fixture. ✨
