Born between Eritrea and Italy

Studio LIIA was shaped around a woman understood as a princess, not by title, but by presence. The studio learned from the way she entered rooms, from the discipline of her silence, from how fabric held and released her body. From her came a guiding principle: femininity is not decoration, but a form of authority that does not announce itself.

When she passed, that language did not disappear. It became internal. It lived on through memory, instinct, and touch.

Studio LIIA did not begin with the intention to design, but with a desire to understand what makes an entrance feel inevitable, what allows a woman to arrive without explanation.

Creation began as a way of listening, to materials, to tension, to the quiet negotiation between body and space. Fabric, wood, metal, softness, weight each became a site of inquiry, a way of holding onto what resists preservation.

Some pieces are meant to be worn. Others to be lived with. Others to remain nearby, almost unnoticed. All are intimate gestures, attempts to give form to feeling.

The work moves between clothing, furniture, and objects, not as categories, but as languages. Each piece functions as a threshold, something that holds presence rather than performs it.

This is a private cultural house.

It asks for attention, not consumption.