Known for her artistic style that blends dark humor with social commentary, Nynke Tynagel has made a significant mark in the design industry through her work with Studio Job and her independent projects alike.

Recently, Tynagel lent her creative vision to Zangra, a Belgian design brand with a fascinating history of its own. Founded by Eve Van Dyck and Thierry Donnay, Zangra began as a passion project inspired by vintage porcelain fixtures discovered during the renovation of an old hotel. Since its inception in 2008, Zangra has evolved into a respected name in the design world, known for its commitment to simplicity, authenticity, and sustainability.

Tynagel’s collaboration with Zangra for their flagship store in Brussels represents an exploration of the intersection of art and commercial design. Our discussion delves into Tynagel’s creative process, her thoughts on the design industry (or rather, retreating from it to make more personal pieces inspired from within) and the specific challenges and inspirations behind her work for Zangra. 

Tynagel: It’s often given by the client. If the client orders a stained glass artwork my drawings need to be technically producible, so from the start, I take that in mind. Same for marquetry, textile etc. My favourite medium is print because this has the least restrictions, it is what it is. 

Hand paintings are even better because you are in total control. But sometimes a certain medium, like knitting, for instance, brings a surprising effect, an extra dimension to the piece which I also adore. When my work becomes 3d, it’s a construction of 2d elements or a pattern/print on a 3d surface or a relief.

DNN: Much of your work contains dark and satirical content, confronting modern attitudes and conditions. Where does that ethos come from and what issues with modern life are top of mind, influencing your work today? What do you wish we were all paying more (or less) attention to?

Tynagel: During my ‘Studio Job period’ my work was darker. These days I bring up current topics (like the amount of things people collect throughout their lives) or personal interests (like the beauty of nature). 

Designing for Zangra

DNN: Can you describe your creative approach when designing for Zangra? What was the inspiration behind these pieces, and how did you incorporate Zangra’s minimalist, retro aesthetic into your designs?

Seeing the location and knowing the Zangra brand I knew I wanted to use color. Color and light attract people, like a merry-go-round at a fair. The colorful window design refers to the aesthetics of a vintage/retro storefront, stripped to its essence.

DNN: The Zangra flagship store is located in a culturally rich area of Brussels. How did the store’s location or its surrounding environment play a role in your design choices? 

Tynagel: Zangra is located in the middle of a street where, except for the trees in summer, there’s not much colour, so I felt the urge to add all colors of the rainbow.

Inspiration from within

DNN: With your extensive experience in the design industry, how have you seen the industry evolve, particularly in the context of blending art with commercial design? What trends or shifts do you find most exciting or concerning?

Tynagel: Lately, I’ve not been on top of what is happening in the design industry. I haven’t been around for years at the big design fairs, [I]  lock myself up in my studio and let the inspiration come from within, my imagination or my immediate surroundings. 

So in my case design became more and more personal. Most exciting shifts: more artistic expression, more emotion, more freedom, more identity, more local, more awareness of environmental impact. Most concerning: trends.

DNN: Given your experience with both established brands like Zangra and your independent work, what advice would you offer to emerging designers looking to break into the industry while maintaining a distinct and personal creative voice?

Tynagel: Stick to what you love doing. Sooner or later there will be a point when it all starts to make sense.