Name: Inside a creative director's eclectic apartment | The Stuff That Surrounds | Wallpaper*
Uploaded: 2025-10-20T03:55:47.000Z
Duration: 10 min 5 s
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Adverbs of degree

When I purchase or acquire something, I really do it with the idea in mind to keep it for either forever or for a very long time.

But of course, you know, your taste also evolves and changes a bit.

Adverbs of manner

But it's something sort of that needs to spark something that I really want to live with.

I'm Veronica Ditting, I'm a creative director.

I work in graphic design and art direction.

Strangely enough, graphic design and art direction, it's closely linked to each other.

But a lot of people who are more in graphic design don't even understand exactly what art direction is and vice versa.

It's really about communication and how something sits and sings on a page, how a reader might look at it, how the typography make the word more specific, how even the word with the exact chosen typeface changes the whole meaning of it.

It's really important to me to be quite physical with the things that I work.

So sort of the tactility and object like quality of everything I create.

I'm based here in London and the barbican, thinking about interior design, I would say it's quite eclectic.

There's a really beautiful Pirelli rubber floor throughout the whole flat in a green.

The first time that you come to the flat, it's quite intimidating in a way because it's quite intense.

But actually it works very well with a lot of the things that I had.

I really like the contrast to the very gray barbican and the brutalist environment we're in.

Maybe I never really think about the whole space, but

it's more about sort of particular pieces which in some strange ways works together.

I was very lucky that there was a lot of shelf systems.

This is a funny book I found in Milan as well.

If I'm not mistaken, it's self published, called Vera.

I mean, what it was made for, I'm not quite sure, but

I just really like the object quality to it.

What of course comes to mind is sort of tactility, how you hold things in your hand.

It's not about sort of a refined and finished object in a way.

I like things that are quite imperfect in the sense that you see how they were made.

These are vases made by a French ceramicist called Juliette Test.

And I really love the color of the glaze.

It's so particular I have quite a few things from my grandparents that I really cherish.

But I love this blanket that my grandmother embroidered.

She had it so you can really see sort of her love for animals.

And I just like how much it really says about her personality, in a way.

Yeah, there's just a lot of humor in it, which I think is so sweet.

Growing up, my parents were definitely always very sort of mindful of how to take care of your things.

Especially with my home, I'm very sort of mindful of caring for the.

Often times I would say that I group things by material.

So we have different silverware postcards from my show in Japan.

And then talking about very sort of tactile things.

This is something that a lot of people come to my place.

But it's just something very sort of satisfying in your hand.

This is Max from Jochen Holt's glass spoon.

And it looks like it's a thumb imprint that really shaped the material, this space.

I quite like it that it's not really defined.

You know, I call it as a joke, the meditation room.

I really love castiglione lamps because they always have quite a.

You know, there's a utilitarian factor to it.

So this is a printing plate by Piero Fornacetti, original zinc printing plate.

You know, they have a very sort of particular sense of humor and tweak to them.

So I think, if I'm not mistaken, it's in the third or fourth generation, and

I spent quite a bit of time looking at printed matter, if that might be, you know, vintage publications, how they are printed, how they're edited, how they're bound.

I started collecting the art publication the Rear Le Miroir a few years ago.

You can really see how the color is actually so intensely printed.

You know, in offset printing, that's not something that you would easily achieve with my own work.

Thinking about also printed matter as an object is something that I find really stimulating because it really makes you query the printed matter in a different way.

Working with Hermes, I've been lucky enough to work with them over 10 years now, I believe.

So this is the invitation I've done for the first launch of Hermes Beauty, which was about the lipsticks in 2020 when working on the invitation, I thought what could be really fun is to actually work with three times the size of the lipstick packages.

So here, you know, it becomes a miniature book.

And I think there's such an interesting aspect of how they used the.

Their color in their design and how it really translates through the whole maison.

It's from different projects I might have worked on.

You know, what is of course so special about the packaging is the actual color and intensity of it and the whole fact that it's that registration printing, which is very sort of precisely aligned on the.

So it's maybe a little bit cliche to have this, but.

I'm about five to ten minutes walk away from my office space, which is on the other side of the Barbican.

I actually don't really like to look back at my own work.

Last year I had a show at DDD Gallery in.

And that was actually the first time that I looked back at 20 years of my work.

And I found it quite confronting because the show was really focused on graphic design.

And the problem with a lot of shows, I guess for graphic design is that, you know, a lot of the material is flat.

Came up with the idea to basically make everything that's two dimensional, to show it in a three dimensional way.

I was always really drawn to photography when I grew up.

My grandma actually mentioned to me that when I was about 2 years old I would come to their house in the weekends and she had to have a box of photographs for me.

It was kind of my demand to always look at pictures.

I worked at the magazine since its foundation for 12 years.

And when we had the 10 year anniversary, we came up with the idea of the miniature magazine which shows all of the COVID profiles.

So this is the publication I mentioned called Andy, which I made for the Steedelijk Museum.

So this is the COVID image by Oliviero Toscani showing Andy Warhol as a model.

Him with his sausage dog, which I obviously love.

And I think in a way the COVID makes it so clear that it's about him as a person instead of him as an artist.

The Barbican is a really dynamic place for culture.

It's a bit like stepping into architectural drawing.

The idea of that utopian living partly works, you know, it definitely comes more to life when it's warm.