Photo Courtesy of @lindsay_brown & @anniedowninginteriors
Voutsa is a New York–based design studio working across textiles, wallcoverings, and objects, known for its distinctive, hand-painted patterns. The work draws from traditional decorative motifs, reinterpreted with a personal hand. Familiar at first glance, but never fixed in place.
Behind it is George Venson, whose approach to pattern is guided less by rules and more by instinct, intuition, and a commitment to making something that feels undeniably beautiful. For this collaboration, four prints from Voutsa’s Signature collection have been reimagined as Tulip Shades, bringing that sensibility overhead.
We spoke with George about instinct, beauty, and what it means to create something that lasts.
Let’s start with instinct. When you begin drawing or painting a pattern, what is the first thing you’re thinking about?
I believe my instincts have evolved over the years. In the beginning, decisions felt more conceptual, but now they seem more responsible. I have a clearer understanding of what the brand represents and how the Signature collection, along with our collaborations, fits into the wider context of decor and design. So, I always ask myself how I can refine or expand that identity and let that influence my content choices. An idea for a collection might stay in my mind for a few years before I start sketching it out, usually as a loose concept like “I would love to do a Fosse collection”…. Hint hint.
Some designers chase timelessness. Your work feels more like it’s chasing intrigue. Is that intentional?
I firmly believe that if you find a way to overcome and eliminate the things that oppress, prohibit, and sabotage you - those internal barriers that foster shame - you will begin to live authentically. We can all agree that people who live authentically are intriguing. I create for these individuals - this process of self-actualization fuels Voutsa and me, encouraging others to join in the journey.
These prints come from your signature collection, which is nearly ten years old and still selling. When you revisit those designs now, what do you notice that you might not have seen back then?
They are all beautiful. It has now become part of my editing process - if I don’t think the final product is immediately beautiful, I cut it (even if I’ve been working on it for a year or two). No one really talks about invention as beauty, but if you look at anyone who has designed something that sells forever, it always has to be beautiful.
Tulip Shades usually live in naturals. Suddenly they are wearing Voutsa florals. What did you like about the idea of putting pattern on the ceiling?
We see a lot of wallpapered ceilings in our inbox. It’s great! At this point, I don’t think there are any rules. However, I believe that sometimes wallpapering an entire ceiling can feel overwhelming, which is why these shades are the perfect option.
If someone stepped into the world of Voutsa for the first time, what would you want them to feel immediately?
Pride.
If these four shades walked into a party, who would they be?
In no particular order: Sophia Coppola, Naomi Campbell, Pamela Anderson, and Lucy Liu
When you’re not designing, what are you usually looking at?
I am one of those people who look at everything, much more than just contemporary art - clothing, theater, performance, dance, drag…. The eye has to travel!
What does a perfect morning in New York look like right now?
It’s funny; I am moving back from LA after five years, but I already know my routine in New York because it’s been the same for a decade. I have a whole universe before noon. I get up super early around 5:30 or 6, make a coffee, respond to the Europe emails for Voutsa, work out if possible - ideally in my building or nearby - shower before nine, do a face ice bath, maybe a face mask, take all my potions, and do all my skin routines. Then sometimes I take a morning nap or begin working on my other projects. I’m normally totally spent by 11:30 or 12 and can’t work anymore, so I go for brunch, which is my second meal of the day: the Breakfast Club and a latte at Cafe Cluny with the morning paper. The best.
Introducing: Tulip x Voutsa
Photo Courtesy of @lindsay_brown & @anniedowninginteriors
Voutsa is a New York–based design studio working across textiles, wallcoverings, and objects, known for its distinctive, hand-painted patterns. The work draws from traditional decorative motifs, reinterpreted with a personal hand. Familiar at first glance, but never fixed in place.
Behind it is George Venson, whose approach to pattern is guided less by rules and more by instinct, intuition, and a commitment to making something that feels undeniably beautiful. For this collaboration, four prints from Voutsa’s Signature collection have been reimagined as Tulip Shades, bringing that sensibility overhead.
We spoke with George about instinct, beauty, and what it means to create something that lasts.
Let’s start with instinct. When you begin drawing or painting a pattern, what is the first thing you’re thinking about?
I believe my instincts have evolved over the years. In the beginning, decisions felt more conceptual, but now they seem more responsible. I have a clearer understanding of what the brand represents and how the Signature collection, along with our collaborations, fits into the wider context of decor and design. So, I always ask myself how I can refine or expand that identity and let that influence my content choices. An idea for a collection might stay in my mind for a few years before I start sketching it out, usually as a loose concept like “I would love to do a Fosse collection”…. Hint hint.
Some designers chase timelessness. Your work feels more like it’s chasing intrigue. Is that intentional?
I firmly believe that if you find a way to overcome and eliminate the things that oppress, prohibit, and sabotage you - those internal barriers that foster shame - you will begin to live authentically. We can all agree that people who live authentically are intriguing. I create for these individuals - this process of self-actualization fuels Voutsa and me, encouraging others to join in the journey.
These prints come from your signature collection, which is nearly ten years old and still selling. When you revisit those designs now, what do you notice that you might not have seen back then?
They are all beautiful. It has now become part of my editing process - if I don’t think the final product is immediately beautiful, I cut it (even if I’ve been working on it for a year or two). No one really talks about invention as beauty, but if you look at anyone who has designed something that sells forever, it always has to be beautiful.
Tulip Shades usually live in naturals. Suddenly they are wearing Voutsa florals. What did you like about the idea of putting pattern on the ceiling?
We see a lot of wallpapered ceilings in our inbox. It’s great! At this point, I don’t think there are any rules. However, I believe that sometimes wallpapering an entire ceiling can feel overwhelming, which is why these shades are the perfect option.
If someone stepped into the world of Voutsa for the first time, what would you want them to feel immediately?
Pride.
If these four shades walked into a party, who would they be?
In no particular order: Sophia Coppola, Naomi Campbell, Pamela Anderson, and Lucy Liu
When you’re not designing, what are you usually looking at?
I am one of those people who look at everything, much more than just contemporary art - clothing, theater, performance, dance, drag…. The eye has to travel!
What does a perfect morning in New York look like right now?
It’s funny; I am moving back from LA after five years, but I already know my routine in New York because it’s been the same for a decade. I have a whole universe before noon. I get up super early around 5:30 or 6, make a coffee, respond to the Europe emails for Voutsa, work out if possible - ideally in my building or nearby - shower before nine, do a face ice bath, maybe a face mask, take all my potions, and do all my skin routines. Then sometimes I take a morning nap or begin working on my other projects. I’m normally totally spent by 11:30 or 12 and can’t work anymore, so I go for brunch, which is my second meal of the day: the Breakfast Club and a latte at Cafe Cluny with the morning paper. The best.