Brooklyn-based artist Quentin Jones has built a multidisciplinary career spanning collage, photography, film, and most recently, sculptural ceramics and tapestries through her newly launched design enterprise, House of Quentin Jones. The London native, daughter of renowned architect Edward Jones, studied philosophy at Cambridge University before earning her Master's degree in illustration from Central Saint Martins. Her distinctive aesthetic, characterized by saturated surrealism and playful sophistication, has attracted prestigious clients including Chanel, Louis Vuitton, Apple, and Diet Coke. With House of Quentin Jones, she shifts from translating client visions to expressing her own creative universe through functional objects and wearable designs.

Jones's work exists at the intersection of high fashion, fine art, and domestic design, creating pieces that feel both luxurious and slightly subversive. Her background in philosophy informs her approach to visual problem-solving, while her architectural upbringing instilled an appreciation for form and function. The launch of her design enterprise represents a natural evolution from her commercial success, allowing her to explore personal narratives without external constraints. Her selections reflect a sensibility that values objects which carry emotional resonance while maintaining impeccable aesthetic standards, blending childhood nostalgia with adult sophistication.

Among her favorite furniture pieces, the Knoll Wassily Chair holds special significance, transporting her back to childhood moments spent at her parents' house. She recalls being small enough to sit on it backwards, legs draped over one arm while resting her head on the other during lengthy phone calls with classmates. The Artek Alvar Aalto L-Leg Table represents another family heirloom—the same table her parents owned when she was born, its underside now covered with childhood drawings and spaghetti bolognese handprints. These modernist classics demonstrate her belief that truly great design becomes more valuable through personal history and daily use.

Her fashion choices reveal a careful balance between allure and intelligence. The Aflalo Lumea Dress in silk exemplifies what she calls the "fine art" of looking hot but not basic, with exquisite tension between tightness and volume. The Alex Eagle leather pencil skirt serves her goal of appearing sophisticated while still encouraging a playful response, and the Le Monde Béryl Babouche Kitten shoes in oxblood leather allow her to channel femme fatale energy without sacrificing stability. These selections demonstrate her philosophy that clothing should empower without constraining, offering both visual interest and practical comfort.

In beauty and home goods, Jones favors products that elevate everyday rituals. The Monastery Attar Floral Repair Concentrate represents what she terms "botanical witchery," promising both self-improvement and an expensive scent. Westman Atelier's Lip Suede Matte Lipstick helps her achieve a "90s power-dressing mom" sophistication, while the Il Buco Vita Casale cutting board proves that kitchen tools should be elegant enough to remain on display. The Ulla Johnson Charlotte Crossbody Bag earns her perfect score for its flawless design, prompting her to retire all other bags.

Her own creation, the House of Quentin Jones Head in Hands Wish Vase, embodies her multidisciplinary approach. The $1,600 piece functions as part surreal sculpture, part functional vase, and part wise sage, looking equally striking with three sparse stems or an overflowing trail of Amaranthus. Jones particularly loves it empty, allowing its sculptural form to speak without floral distraction. These carefully chosen favorites reveal an artist who understands that true luxury lies not in ostentation but in objects that spark joy, memory, and a touch of mischief while maintaining absolute commitment to quality and design integrity.