In the quiet intersection where Colombian heritage meets the refined discipline of Milanese design, Natalia Criado creates objects that reframe our daily routines.
After making the leap from fine goldsmithing to home objects through her brand Joyas en Casa, Criado brings the meticulous precision of jewelry design into tableware, crafting pieces that treat everyday gestures, pouring a cup of tea, drinking coffee, setting a table, as opportunities for pause and presence.
For this week’s Sunday Series, the designer reflects on blending two distinct visual languages, allowing materials to guide her process, and building a sanctuary amid the kinetic energy of Milan.
Let’s get into it.
You balance the rich artisan craft of your Colombian roots with Milan’s sleek design world. How do those two totally different design cultures talk to each other when you sit down to start a piece?
I think they come together very naturally in my work. Colombia gave me an appreciation for craftsmanship, ornament, materiality and objects that carry the trace of the hand. Milan taught me a different kind of discipline, proportion, restraint and the importance of reducing an idea to its essence. I don’t consciously try to balance the two; they have simply become two different languages that I use at the same time.
You shifted from fine jewelry to objects for the home with Joyas en Casa. How did your background in delicate goldsmithing change the way you look at everyday tableware?
Goldsmithing completely changed the scale at which I look at objects. You learn to pay attention to very small things - how two materials meet, the weight of a piece in your hand, a tiny connection or an edge. When I started designing objects for the home, I brought that same attention with me. I still approach many of them almost as pieces of jewelry, just for the table rather than the body.
Take us inside your studio: when a new idea sparks, do you pick up a pencil and
paper, start sculpting in wax, or immediately go play with raw metals and stones?
It usually starts with drawing, but very quickly I need to understand the object physically. Sometimes that means making a model, sometimes experimenting directly with a material or placing different stones and metals next to one another. I like allowing the material to influence the design rather than deciding everything beforehand. Often the most interesting details appear through that process.
Your tea and coffee sets feel like objects made for slow, intentional rituals. What’s your take on how the design of everyday items can quiet our routine and shift our mindset?
I think objects have the ability to change the way we perform very ordinary gestures. Drinking coffee, pouring tea or setting a table are things we do constantly, but a beautiful object can make us notice the gesture again. It doesn’t need to turn everyday life into a ceremony, but it can create a small moment of attention. I like the idea that design can encourage us to slow down without explicitly asking us to.
Your work toes the line between functional utility and pure sculpture. Is there ever a moment where a shape is just too beautiful to compromise for functionality?
Definitely. There are moments when the form begins to take over, and I think that tension is interesting. But I don’t necessarily see functionality as a compromise. Sometimes a limitation actually makes the object better. I like when you first see something almost as a sculpture and then discover that it has a very simple function.
What is the single best piece of advice a mentor or master maker gave you early on that you still replay in your head while working today?
The best piece of advice I was ever given was to follow my intuition. It sounds simple, but trusting that instinct is something I’m still learning and working on to this day. In design, there are always many references, opinions and possibilities around you, so learning to listen to your own instinct can be one of the hardest, but also most important, things.
Milan has such a fast-paced creative energy. How do you design your home and routine to feel like a calm sanctuary where you can actually unplug?
My home is very important to me because it is where I can create some distance from work. I like being surrounded by objects that have meaning, things I have collected, pieces made by friends and objects connected to memories. I think a home feels calm when it develops slowly rather than being designed all at once. I prefer spaces that feel lived in and personal.
As someone whose job is creating gorgeous, collectible pieces, what is the one design item in your own house that you couldn’t live without?
The Mucura Three. It is one of those objects that has become part of my home in a way that makes it very difficult to imagine the space without it. This object has become an extension of my language and work and it’s a piece I am incredibly proud of.
Do you have a hidden collecting habit, vintage glassware, architectural books, unusual minerals, and where do you go when you want to hunt for something special?
I like to collect stones from my travels and seashells from the beach. They have a way of centering and grounding me, and I’m naturally drawn to objects that come directly from the landscape. Nature is always one of my main references, so these small things often become little reminders of places I’ve been and can later find their way back into my work.
Which items in your wardrobe have become your summer favourites?
In summer I tend to return to very simple pieces, light dresses, linen, comfortable sandals and pieces of jewelry that I can wear every day. I like clothes that feel effortless and allow the accessories or small details to carry more personality.
What do you give to the person who already has everything? Is there a go-to gift that never fails to charm?
Quality over quantity is always the best place to start when choosing a gift for someone who seems to have everything. You can never really go wrong with something that carries sentimental value. When I’m choosing a gift, I often think back to past conversations I’ve had with that person, because we reveal so much about ourselves in the things we mention casually. The best gifts usually come from paying attention to those small details.
If you had zero limitations, what is one unexpected material or craft technique you’re dying to experiment with next?
With zero limitations, I would love to create something using materials found in outer space.
What 3 spots in Milan are on your ‘to-try’ list?
Flow Milan, because I know the chef very well; Bar Basso, a Milanese institution and one of those places you simply have to experience at least once; and El Galactic Tacos, because I’m always happy to discover a great taco spot.
If you have friends visiting for the weekend, what’s one spot you love to take them to?
I would take them to Villa Necchi, because it captures such a beautiful side of Milan - the architecture, interiors and garden all feel very particular to the city. Afterwards, I’d go for a coffee at Cucchi. It’s a simple combination, but to me it feels like a very Milanese way to spend part of the day.
Whether translating raw stones into sculptural table pieces, exploring the tactile beauty of natural elements, or dreaming of materials beyond our atmosphere, Natalia Criado’s work serves as a reminder that good design does not demand ceremony, it simply invites attention. By approaching functional objects with the delicate touch of a jeweler and the curiosity of a collector, she offers an elegant argument for slowing down, listening to intuition, and finding meaning in the small, quiet details of everyday life.
Image credits: Juliana Gomez, Claudia Zalla, Giulia Fauro Alessi, Emilia Milusauskaite
