The Cool Handmade Pottery Fashion Girls Will Love
Dream of owning a pair of Valentino Rockstuds and can’t resist a fun DVF lip print? Desanka Fasiska’s handmade ceramics might be just the accent you need to give her interiors that voguish touch. When we first discovered Fasiska’s brand, Lux/Eros, it was love at first Hermès-inspired buckle—and naturally it came as no surprise when we learned that the artist and creative consultant has a background in fashion.
Out of her SoCal 1963 A-frame house, Lux/Eros Lodge (which she lovingly restored to its natural architectural beauty), Fasiska creates glamorous handmade ceramics in soft, earthy tones with runway- and nature-inspired accents like pyramid studs, gilded lips, and boho leaf prints. Major admirers, we recently took a visit with Fasiska to her home to learn more about how she development her creative business and where she finds inspiration. Read on below for our interview and a tour of her space.
MYDOMAINE: Can you give me a little background on your career and your business?
DESANKA FASISKA: I studied fashion design and was a designer for 14 years. I had my own line called Desanka, then went on to work for Joie and Forever 21 before launching another line called Of Two Minds with another designer for a manufacturer called DDA Holdings. Although I continue to consult for brands, such as LoveShackFancy, I wanted to branch out and launch a passion project that would encompass the things that I have always loved—creating beautiful spaces, the arts, and fostering a creative community. I launched Lux/Eros late last year as a California living blog and interiors brand. I also opened up my home to host creative community events.
MD: What kind of events do you host at your lodge, and what inspired you to open up your home to the public?
DF: At my home—the Lux/Eros Lodge—I collaborate with local artisans and brands to host workshops, such as macramé and indigo dying, or collaborate with brands and local chefs to host intimate dinners. My goal is to spotlight California artisans and creators and create a space where people can come connect to, learn from, and be inspired by industry leaders that they might follow on social media in an intimate setting as well as connect to other people who have similar interests. I did this because I missed the feeling of connection and inspiration I got when I was in art college and felt really disillusioned after spending so much time working in the fashion industry.
MD: How long have you working with ceramics, and how to you get into it?
DF: I started going to a ceramics studio called Bitter Root about six years ago, around the time I left my last full-time fashion job. In part to fulfill that desire to be a part of a creative community and also because I have always been drawn to it. I had painted as a hobby for years, so I was really drawn in by the idea of almost creating 3D paintings. I found that I was terrible at throwing on the wheel, so now I only hand-build and put most of my focus on playing with glaze techniques and textures.
MD: Where do you find inspiration for your work?
DF: I'm really inspired by abstract painting (Helen Frankenthaler, Cy Twombly, Rothko), interior design (1970s and early ’80s—Bloomingdale’s, Pierre Cardin, Terence Conran), architecture (Post Modern, like the Bonaventure hotel for example, and Brutalist Mickey Muennig), textile art and sculpture (Brancusi, Noguchi). And of course nature and the Californian landscape. If I'm feeling creatively blocked, I just jump in my car and take a quick road trip and let California inspire me!
MD: Fashion clearly has an impact on your work. Do you feel your personal style and interior/artistic style have much in common?
DF: I describe my personal style as Biba meets Big Sur. I'm obsessed with anything having to do with design in the late ’70s (probably because I was designed in the late ’70s!)—I feel like there is a through-line of that affinity in everything I do, wear, and make. I suppose I can't really get away from the fact that fashion was my first love! It defiantly influences me still—hence the pyramid studs and locks inspired by Hermès!
MD: What draws you to the colors you use in your work?
DF: I'm really not sure why I am drawn to the colors that I love, but I suppose my particular affinity for earth tones—pinks, mauve, oranges, and yellows—comes from my many years working in fashion. … All I know for sure is that those colors make me feel warm and fuzzy.
MD: Are there any other ceramicists or artists who have influenced your work?
DF: I love the colorful and abstract work of Linda Styles, Stan Bitters’s murals, and ceramic furniture by Lee Hun-Chung.
MD: What is the biggest challenge of working with ceramics?
DF: I love working with ceramics. Apparently there is a chemical reaction when we touch dirt and clay that releases serotonin in our brains—which is why making ceramics and gardening is so relaxing! However, there are a few things that are stressful. There are a lot of steps to making any ceramics piece so making big production orders can become really time-consuming. Also, I hate wasting clay, which sometimes happens when I'm working on a big order and don't have time to make fun smaller pieces with my scraps.
MD: What’s your advice would you offer to others looking to build a business of handmade goods or in the creative community?
DF: I suppose my only advice is to not wait until the perfect time or until your product is perfect. People can get mired in their own self-doubt and perfectionism. I think if you have something inside of you that is nagging to be done, just do it and keep putting it out there, keep producing your craft, and don't be afraid to share it. Perfection comes with the process. Oh, and connect, connect, connect! Don't be afraid to reach out and connect to the people you know or want to know. You'd be surprised at how many people are willing to help you, work with you, and collaborate if you just reach out!
If you could change your career, what would you be doing? Share with us below.