MEET Alissia

Alissia got her start by applying to design school on a whim; a levity reflected in both her work and her wit. Though her designs are often whimsical, Alissia's dedication and industry success reveal an underlying depth and serious staying power.

Now, Alissia operates out of her own New-York based studio, byAMT, where she creates jewelry, home goods and furniture.

Alissia's career has taken her around the world; a Netherlands native, she cut her teeth on design at the Design Academy Eindhoven (DAE) before transplanting to the U.S. for her Master’s in Industrial Design. After a brief stint in San Francisco, she finally settled in New York, where she opened her own studio.

Though Alissia has made great strides in the industry, she is never one to take herself too seriously: "Humor is an important part of my work, and an important part, in general, of life," she says. "There’s too little of it in this country...But in our work, it’s important not to take things too personally—or to try not to.”

To start, have you always been a maker? Was the journey to becoming a designer one that started early?

Nope, not really. Initially I went down an academic path. I went to university in Utrecht and met a guy whose best friend went to the Design Academy Eindhoven. I visited and I was surprised—it had a name that made it sound like it was more of an engineering school. But then I found out it wasn’t, and I thought, wait a minute. I applied, totally randomly, thinking there was no way I was going to get in. I didn’t have any background in design, and they accepted only 70 people out of 1,200. But I got accepted. The whole thing was a surprise to me. My parents were also very surprised—they were like, “She’s working! She’s actually working on weekends. What happened?”

Can you remember the first thing you created that excited you?

When it comes to design, I’m more excited about the process than I am about the outcome. When a concept or a story that you have comes together with the details, the material, the finish—when everything falls into place, I’m happy. After that, I kind of don’t know what to do. I think, ‘next!’ But that’s not how real life works.

One of your most popular items is the Diamond Ring. Was it a love of jewelry that inspired that piece?

No. I don’t wear a lot of jewelry. But I’m interested in jewelry as object. I took a Jewelry 101 class at RISD because I was interested in learning about metal work. It was for fun, but I told myself that every time I learned a technique, I’d design something new. It was a six-week class, so I thought of it as a six-week design workshop with myself. The ring was one of the things I made. I was thinking, what’s the meaning of a diamond ring? I made it in acrylic, so that anyone could buy it—you could buy as many as you want. That was the first product I produced in the US. And it’s the one that really took off.

How long have you lived in New York?

I moved with the rings, so since 2005. I was born and raised in The Netherlands, attended grad school at RISD, moved to San Francisco, and then to New York on a whim. My relationship with the city is love and hate. Everyone has that in New York a little bit. But in the US, it’s the only place I’d live.

How have you seen the design industry evolve since you arrived?

Things in the design world are changing a lot. It’s an interesting time. When I got here in 2002, design as we know it now was seen as functional art. I didn’t look at it that way, because I was coming from The Netherlands and that’s not how we think about it there—it’s just design, and its function is to make our lives better and more enjoyable because we love what we’re surrounded by. Both aesthetics and function are of importance. Now, I think people are really seeing design for what it is. They’re appreciating color, material. You don’t have to make everything in the millions or tens of thousands for it to be viewed as valuable. A lot has changed in a very short time.

What’s one quick tip you’d offer to someone who’s purchased one of your designs?

A product should have its own life. I’d rather know what other people are doing with it than advise someone on how to use it. That’s more interesting to me. I’d like to have a diary of what happens to it once it’s in someone else’s hands—where do people put it? Is it on a nightstand? Is it by a desk? How is it working?

"People take things too personally. In design school, that’s especially true."

What’s an example of another of your pieces that’s been interpreted in a surprising way?

The Little Big Trivet. Kids love to wear it like jewelry. They put it around their neck or they wear it as a purse. My former bookkeeper’s boyfriend was so in love with it that he hung it on his front doorknob just so he could always see it. Also, the diamond ring has been interpreted in many ways. I’ve heard everything from very sad stories to the happiest stories. What I like about that product, even though it’s not my favorite, is the way people have reacted to it. Some people view it as something serious—like an engagement ring—and some don’t, and the difference between the two is very big. To some, it’s a really good joke. Others are like, “I’ve been looking for a ring like this forever.” I like that a lot. That piece was meant for that dialogue.

What other creative pursuits do you enjoy apart from design?

I’ve always liked photography, and now, I love Instagram. I’m a little addicted. It’s become a visual exercise for me, to keep looking around, to find something to post about every day.

Lastly, you’re a very happy presence—someone who laughs a lot. Would you say humor has been a big part of your life?

Humor is an important part of my work, and an important part, in general, of life. There’s too little of it in this country. People take things too personally. In design school, that’s especially true. If you offer someone criticism, it’s like you’re telling them, “You’re fucking fat.” But really, it’s just about telling someone that their work isn’t portraying what they want it to, or that the choices they’ve made may not be the right ones. Outside of school, sometimes a client doesn’t want something and you might not agree. But in our work, it’s important not to take things too personally—or to try not to.