{"id":54314,"date":"2026-01-15T19:13:45","date_gmt":"2026-01-15T19:13:45","guid":{"rendered":"https:\/\/exagono.es\/mar-gausachs-disena-la-coleccion-lempicka-como-expresion-de-una-necesidad-interior\/"},"modified":"2026-01-15T19:32:32","modified_gmt":"2026-01-15T19:32:32","slug":"mar-gausachs-designs-the-lempicka-collection-as-the-expression-of-an-inner-necessity","status":"publish","type":"post","link":"https:\/\/exagono.es\/en\/mar-gausachs-designs-the-lempicka-collection-as-the-expression-of-an-inner-necessity\/","title":{"rendered":"Mar Gausachs designs the Lempicka collection as the expression of an inner necessity"},"content":{"rendered":"

The artistic ceramic collection Lempicka, designed by Mar Gausachs<\/a>, belongs to that rare category of objects that are not conceived as products, but as expressions of an inner necessity. It is the outcome of a long, quiet and deeply personal process, in which experience, vision and time have converged into a common form.<\/p>\n\n\n

After years working through styling and creative direction\u2014selecting, ordering and giving meaning to objects designed by others\u2014Mar chooses to place herself elsewhere. Without abandoning what she has learned, she distils it. Lempicka<\/em>emerges when the designer understands that the time has come to create from the origin, to assume matter as language and to accept that designing also implies exposure.<\/p>\n\n\n\n

The collection takes its name from Tamara de Lempicka, an explicit reference to a strong, feminine geometry. Added to this is the Egyptian conception of time, understood as permanence. Two influences that do not appear literally, but are translated into proportion, weight and presence.<\/p>\n\n\n

The origin of the project is linked to a moment of introspection and to a solo journey to Egypt, which acts as both conceptual and emotional trigger. There, the designer assimilates a lesson that runs through the entire collection: \u201cEgypt taught me that transformation needs time,\u201d she explains. This learning is reflected both in the rhythm of the process and in the final result, where nothing feels rushed or superfluous.<\/p>\n\n

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To materialise this universe, Mar Gausachs found in ceramicist Montse Lozano, from the workshop Aret\u00e9 d\u2019Empord\u00e0, the necessary accomplice. The partnership is conceived as a shared endeavour grounded in common values: respect for craftsmanship, artisanal excellence and an understanding of time as an essential component of design. Each piece is hand-thrown, layer by layer, in chamotte stoneware fired at high temperature, embracing controlled imperfection as a mark of identity. The sober, essential finish refers to materials that are part of the designer\u2019s habitual visual language\u2014cement, lime, iron, textiles\u2014and reinforces an aesthetic that moves away from ornament to focus on structure.<\/p>\n\n\n\n

The collection consists of seven objects that respond to essential domestic typologies: vases, bowls, a lamp, a centrepiece and a cup. Functional pieces that here acquire a sculptural dimension, not through monumentality, but through their ability to occupy space with serenity.<\/p>\n\n\n\n

The Hathor vase, dedicated to the Egyptian goddess of beauty and protection, is tall and contained, conceived to represent feminine energy. The Nefer vase, lower and more compact, asserts fullness through balance. The Metameric lamp, the largest piece in the collection, introduces one of its key concepts: metamerism. Depending on light and surroundings, its surface shifts between greys and browns, revealing a changing identity that never fully settles. The Quantum centrepiece alludes to the constant transformation of matter, while the Kheper bowls, in two sizes, celebrate the continuous cycle of everyday life. The series closes with the Mar cup, initially conceived as a gift: an intimate object, designed to accompany daily gestures.<\/p>\n\n\n\n

Each piece is signed by the designer with the word MAR, a conscious decision that reinforces the intimate character of the project. Here, her name appears not as a brand, but as a presence. On the base, the signature of the ceramic workshop Aret\u00e9 is also inscribed.
Lempicka does not seek to define any trend; it is a collection conceived to endure, to coexist with the passage of time without losing meaning. With Lempicka, Mar Gausachs opens up a territory that goes beyond a product line. A territory in which design is understood as a conscious gesture, matter as memory, and time as an ally.<\/p>\n\n\n

The official presentation of Lempicka is taking place at Maison&Objet Paris, from 15 to 19 January 2026, as the natural culmination of a process that has known how to wait. From there, the pieces begin their own journey, available through the designer\u2019s channels and, from February, on her official website.<\/p>\n\n

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Jarr\u00f3n Nefer.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Jarr\u00f3n Hathor.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Jarr\u00f3n Hathor y Jarr\u00f3n Nefer.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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L\u00e1mpara Metameric.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Centro de mesa Quantum.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Project<\/strong>: Lempicka Collection.
Design year<\/strong>: 2025.
Designer<\/strong>: Mar Gausachs<\/a>.
Photography<\/strong>: Mar\u00eda Pujol<\/a>.
Ceramics<\/strong>: Montse Lozano. Taller Aret\u00e9 d\u2019Empord\u00e0<\/a>.
Source<\/strong>: Marta Alonso. MASmedia.<\/p>\n\n\n

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Mar Gausachs<\/h2>\n\n\n\n

There are professional trajectories shaped by the quiet coherence of a long journey, marked by talent and a deep sense of vocation. This has been the path of Mar Gausachs. Through more than twenty years of work, she has gradually built a language of her own, one that now culminates in her new collection, Lempicka<\/em>, conceived as a turning point in her career within the fields of decoration, interior design and design at large.<\/p>\n\n\n\n

Trained in Visual Merchandising at the IED Istituto Europeo di Design between 2003 and 2005, and later completing a postgraduate degree in Retail Design at Elisava (2006\u20132008), Mar began her professional career with a precise understanding of space as a narrative medium. From the outset, her focus was never decoration understood as surface, but rather use, experience, and the relationship between object, context and person.<\/p>\n\n\n\n

This perspective was consolidated through her work with companies such as E. Furest, Mandarina Duck and Textura\u2014environments where product and storytelling coexist, and where space acts as a mediator between brand and user. For seven years, as creative director of Grupo Casa Viva, Mar developed an extensive and complex body of work. With more than twenty stores across Spain and Andorra, the brand became a testing ground where she learned to make decisions with real impact, sustained over time.<\/p>\n\n\n\n

In 2018, she began her freelance practice, focusing on styling, creative direction and set design. Since then, her work has unfolded with increasing precision: editorial projects, domestic spaces, and commissions for brands and private clients seeking more than a refined image. In her practice, every choice responds to a clear intention. Aesthetic construction has been the defining thread of her work throughout this period.<\/p>\n\n\n\n

At the same time, for the past two years, she has shared process and reflection with photographer Mar\u00eda Pujol. Together they founded Kanela Estudio, a tandem in which photography and styling engage in dialogue based on mutual respect and creative independence. This partnership is not a fusion of authorship, but a conscious collaboration, where each project is approached through the convergence of perspectives.<\/p>\n\n\n\n

After years working with objects designed by others, Mar takes a further step and decides to produce from the origin. To design beyond an exercise in style. Ceramics emerge here as a slow, resilient material, capable of absorbing time and returning it in the form of presence. Her Lempicka<\/em> collection distils her poetic sensibility and translates it into form.<\/p>\n\n\n

Mar Gausachs belongs to a generation that understands design as responsibility. Technical knowledge, cultivated sensitivity and an honest relationship with process define her work. In a context saturated with fast images, her practice proposes a different pace\u2014the pace of slow time\u2014marked by rigour and by a voice that does not need to raise itself to be heard. Mar Gausachs already occupies a privileged place within the contemporary landscape of interior design, decoration and design.<\/p>\n\n

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Mar Gausachs
<\/strong>Barcelona
www.margausachs.com<\/a>
@mar_gausachs<\/a><\/p>\n<\/div>\n\n\n

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It is the result of a long, silent and deeply personal process, in which experience, gaze and time have found a shared form.<\/p>\n","protected":false},"author":1,"featured_media":54325,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_eb_attr":"","editor_plus_copied_stylings":"{}","footnotes":""},"categories":[635],"tags":[1252,2201],"ppma_author":[296],"class_list":["post-54314","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-design","tag-artistic-ceramics","tag-mar-gausachs"],"authors":[{"term_id":296,"user_id":0,"is_guest":1,"slug":"andres-moratinos","display_name":"Andr\u00e9s Moratinos","avatar_url":"https:\/\/secure.gravatar.com\/avatar\/?s=96&d=mm&r=g","author_category":"","first_name":"","last_name":"","user_url":"","job_title":"","description":""}],"_links":{"self":[{"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/posts\/54314","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/comments?post=54314"}],"version-history":[{"count":7,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/posts\/54314\/revisions"}],"predecessor-version":[{"id":54324,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/posts\/54314\/revisions\/54324"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/media\/54325"}],"wp:attachment":[{"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/media?parent=54314"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/categories?post=54314"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/tags?post=54314"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/ppma_author?post=54314"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}