Who we are and why we publish
Renaé Hanvin began as a small editorial experiment: a place to document the conversations happening inside artists' studios, between collectors and makers, and across the quiet corners of contemporary design. What started as a single printed issue has grown into an independent digital magazine with a clear point of view. We are not a news desk and we do not chase trends. We follow the work itself, the people making it, and the spaces where it lives.
An editorial team of practicing designers and writers
Our core contributors split their time between criticism and craft. Ehsaan Dar writes about material experimentation and has curated two group shows in Bengaluru. Mohit Mathur photographs studios and workspaces, documenting how light and layout shape artistic output. Ricky Narine edits the visual essays and brings a background in interior architecture to every feature.
Readers who collect with intention
We publish for first-time collectors, art students, and independent designers who want more than a highlight reel. Our audience values context over hype: they want to know how a ceramicist fires their kiln, why a certain gallery chose a specific wall color, and what a work costs before they fall in love with it.
A position between criticism and practical guidance
Each issue balances cultural critique with actionable advice. A review of a brutalist restoration sits next to a guide on sourcing affordable prints. We believe serious writing about art and design should also help readers make confident decisions for their own spaces and collections.
Rooted in process, not trends
Our editorial calendar follows the rhythm of studios and exhibition seasons rather than the news cycle. We spend weeks inside a project before we write about it. This slower approach lets us capture the decisions, failures, and revisions that define meaningful creative work.