In the Studio: Josie Ford

We recently visited Josie Ford in her beautiful showroom/studio in Koreatown’s iconic Gaylord Apartments building. Josie is the founder of Studio Ford and a long-time collaborator of ours.

How would you describe your practice, and what drew you to textiles?

My practice feels like a bridge between art, craft, and interiors. My work is rooted in traditional textile techniques, primarily block printing and hand weaving but with contemporary motifs. I want the textiles to feel timeless but also new and fresh. I paint and draw each pattern by hand. Visualizing these patterns in different spaces guides my design process and the nuances of block printing and other traditional craft methods are what give the textiles warmth and character. I was drawn to textiles because of my deep fascination with India and its rich tradition of block printing. It originally started with my background in printmaking and art history. I’ve always been drawn to patterns and to the way fabric interacts with space. Textiles can define an interior and they carry history.

Can you tell us more about the patterns in your work? What inspires them? Are they connected to a historical moment or geographical location?

The patterns I design are typically inspired by historical or geographical references. I enjoy researching different topics from history and exploring how they inform the patterns I create. My latest collection is a compilation of multiple influences, including a Chanderi silk saree I found on my very first trip to India, the Third Style frescoes of Pompeii, and elements of Wiener Werkstätte design.

All of these influences come together to create a sense of layering and storytelling within the designs. The patterns feel rooted in tradition due to their historical references, but by combining these diverse influences, I hope they are perceived in a contemporary context.

You've spent a lot of time in India. What is it like working there and how has it influenced your practice?

Spending time in India has been one of the most formative experiences of my practice. Working there is both challenging and incredibly rewarding. Things don’t always move on a fixed timeline and being flexible is important but that openness also allows for a more organic and collaborative process. I am drawn back again and again because of the deep connection to craft. The artisans I work with have honed their skills over generations and there’s an inherent respect for handmade processes that I find inspiring and crucial to the work I do. Every step of the process, whether it’s block printing, weaving, or dyeing, requires patience, precision, and an understanding of materials that can only come from experience. India has had a huge influence on the way I approach design. The culture is vibrant, rich, and layered - there is always something new to discover, whether it’s art, tradition, or daily life. What stands out to me the most is the warmth and openness of the people. There is a strong sense of community, and artisans are always eager to share their craft and stories. This has made it easy to form meaningful connections and collaborate with skilled makers, which is where much of my inspiration and creative possibilities emerge. On my last trip, while walking down a narrow lane in Jaipur’s old city, I stumbled upon artisans meticulously pounding gold leaf by hand—a process that has been passed down through generations. Moments like this remind me how deeply craftsmanship is embedded in everyday life in India.

You have a unique studio in The Gaylord Apartments. How did you wind up there? Did the domestic-style layout inform how you display your work?

My boyfriend lived in the building before we moved in together, so I became quite familiar with it. When he moved out he decided to keep his unit as a painting and music studio. I had been looking for a new studio that could serve as a showroom and workspace. I decided to see what apartments they had available at The Gaylord, and I found this perfectly intact one bedroom corner unit that overlooks Wilshire Boulevard and what is left of the historic Ambassador Hotel. The domestic-style layout was ideal, allowing me to turn the bedroom into a working studio and have the living room, kitchenette, and vanity room to show my pieces in the context they were meant for. I love that it gives clients the opportunity to see how the pieces function in a living space. For our next launch, we plan to refresh the showroom and display the pieces in an entirely new way.

You recently started designing and fabricating some furniture with your partner Dan Bruinooge. How did this collaboration begin, and has it changed the way you work?

Yes :). This collaboration began quite organically when Dan and I first started dating. I found a lamp in his apartment that he had made and asked if we could make one for my apartment. I then reinterpreted the shade using a handwoven silk. When the lamp was finished, we decided to start a furniture line blending our backgrounds. Dan has a fine art background but has also worked in architecture for over a decade making and designing furniture. We got so excited about making things together that it just seemed natural— we even designed an entire house that we plan to build one day. We created a print that was spaced perfectly to fit the lampshade we designed. Things like this have made me look at the textiles a little differently and now I am working on offering fabric by the yard so that people can have a similar experience, applying the textiles in unique ways that suit their own spaces.

Tell us about the process of collaborating with Commune?

Collaborating with Commune has been amazing—I don’t even know where to begin! I have so much respect for Roman and Steven’s design sensibility, and they’ve been incredibly supportive of my work from the very beginning. We’ve collaborated on so many projects over the years, from the Cactus Flower Quilts, table linens, and potholders, to dog beds, Mushroom Quilts, and now lamps. After Dan and I made our first lamp for my apartment, I immediately brought both his original design and our new version to Roman and Steven to get their thoughts. Luckily, they loved them and ended up placing our very first order—eight custom lamps for the Commune Shop. From there, we worked together to refine the details, sifting through countless handwoven textile swatches to find the perfect shade and base pairings. Their collaborative approach and keen eye for materiality make every project feel so intentional and considered.

What is your dream collaboration?

I would love to collaborate with Commune on a canopy that hangs above the bed or maybe even a tented room.

Interview and Photography by David Kasprzak