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    good as gold

    Boutique Australian furniture brand opens first U.S. studio in Houston

    Emily Cotton
    Apr 18, 2025 | 11:01 am

    Say hello to En Gold! Diehard fans of the coveted Australian furniture brand finally have a stateside gallery, right in Houston’s Upper Kirby District (3330 Audley St.). Cool and crisp, the vintage-inspired, handcrafted collections shine a spotlight on the long-forgotten craft of Fossil Stone artistry.

    En Gold furniture brand
      

    Courtesy of En Gold

    Skilled artisans working in the En Gold factory in Cebu.

    CultureMap caught up with En Gold founder Steffanie Ball in her new gallery space to talk vintage, Fossil Stone, and how En Gold has revitalized an all-but-extinct pocket industry in Cebu, The Philippines.

    What began as a maternity-leave-induced search for quality vintage led to instantly-sold-out Instagram pop-up sales and a lively cult following that demanded more. The vintage Fossil Stone phenomenon drove En Gold founder Steffanie Ball to seek out the original artisans that produced these iconic pieces in the first place. Now, 45 years after making its debut, Fossil Stone furniture is being produced once again — by the same artisans who produced it the first time around. Only this time, the artisans are finally getting their flowers.

    En Gold is the only brand in the world producing Fossil Stone furniture, and with their exclusive partnership with the artisans, it’s looking to stay that way. A form of limestone, Fossil Stone is native to the Philippines and contains organic inclusions that give it the appearance and character it’s known for. Quarried by hand, it’s then cut by hand into thin layers before being painstakingly sanded repeatedly until it is applied to a timber frame.

    En Gold is all about sustainability, so any potential waste that comes from breakage is turned into a powder, then a putty, before finding new life as a decorative vessel, like the Laguna Vase or becoming a Paradis Mirror frame. “This craft is actually so beautiful because it has minimal wastage,” says Ball.

    In 2018, the interior designer, turned industrialist, found herself in somewhat of a “nesting” quandary. “In Australia at the time, [furniture] was either mass-produced flat-pack, or crazy expensive and unattainable — there was nothing in the middle,” says Ball. “I couldn’t find anything interesting that had any kind of character to it, so that’s why I started to look at vintage.”

    After more and more of the same pieces continued popping up on the secondhand market, questions about these beautiful stone works arose: “I couldn’t understand it,” she says. “Was it solid stone, was it faux marble? It was really hard for me to get any information about it.” All Ball knew was that she loved it, and kept buying all that came available. “I couldn’t pass them up! It needed a home. It needed to go where it’s appreciated,” she says.

    Before long, Ball’s home started to resemble a warehouse. At the behest of a friend, the decision to part ways with some of these pieces had been made. She created an Instagram account to showcase vintage Fossil Stone pieces, and then two collections were dropped per week.

    “The whole collection would sell out in three seconds — it was madness,” says Ball. “It grew into this engaged community with two-way communication. Customers would ask if we had more of certain things coming up. I could hear the things that they were looking for and really understand what I needed to be searching for.”

    After countless hours of research, and discovering some dodgy European import practices of the 70s and 80s, Ball learned that every piece of Fossil Stone furniture had been made by skilled artisans in the Philippines, then stamped with either “Made in France” or “Made in Italy” once it had been unpacked abroad. Of the 80 Fossil Stone factories operating in Cebu during their heyday, only one remained.

    “I found the last standing workshop that was creating furniture [back then]. He was not producing at all, but kind of still there — he said he didn’t know what he was still even holding on for,” says Ball. “Meanwhile, I’m searching all of Australia for this Fossil Stone furniture!”

    For Ball, whose mother is Filipino, the discovery was kismet. Imagine the artisan’s surprise to learn that his creations were as popular today as they had been so many decades before. Ball struck an exclusive deal to get the factory operational once more and revitalize the industry, only this time with the craft as the main focus.

    “Let’s tell the story about it. Where it comes from, whose hands make it. Let’s shine a light on the artisans who have been creating it this whole time,” she says.

    They decided to reproduce three key pieces: the Tierra Petite, Isla Dining Table, and the best-selling Arena Coffee table. “We launched it online and the entire container sold out in one hour.”

    Since that time, En Gold has expanded its offerings to include wooden, seagrass, and upholstery collections, but the ethos remains the same: “Always handmade, always traditional in its method. We try to use all natural materials,” says Ball. “All the timbers are native to The Philippines — native mahogany, seagrass, and another light timber called Gmelina.”

    Ball is currently working on an iron collection as well. Fans of En Gold flock to the brand for its focus on craftsmanship, as well as the inherent individuality of each piece. Ball enjoys the love that En Gold clients have for the brand.

    “When you’re working with handmade products and natural materials, there is an appreciation for the perfectly imperfect….you can see where they [artisans] were sanding,” she says. “When we talk about the fingerprints of our makers, that’s what we mean.”

    The brand’s new Upper Kirby outpost will offer the entire En Gold line, as well as other female-owned Aussie favorites for shoppers to explore. Paintings and sculptures by Adele Naidoo, Karv Studio, White on Walls, and Denise Quah will be available for purchase, plus linen bedding by Cultiver. Australian-made skincare brand Gracious Minds will line the shelves along with top-tier Turkish linen bath sheets by En Gold’s luxe self-care sister-brand Yōli. Find dry-brushes next to Tiger’s Eye Gua Sha, essential oil dryer droppers, and hand-poured candles with En Gold’s signature blend of neroli, cedar leaf, and teak wood. A collection of Bordam candles will be on offer as well — everything one needs to tune into the Yōli playlist on Spotify and unwind at home.

    En Gold has already opened their doors to fans looking to say hello, and invites fellow creatives, designers, and lovers of thoughtful design to celebrate the opening of their first U.S. gallery space on Friday, April 25 from 6-9 pm.

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    Go fish

    Houston pop artist turns Xennial nostalgia into collectible ceramics

    Emily Cotton
    Apr 11, 2025 | 2:40 pm
    Julia McLaurin
    Photo by Gisele Morales Photography
    Pop artist Julia McLaurin with her wildly successful emoji series.

    Recently, more and more Houstonians have made a meteoric shift from the minimalistic home decor trend that held court for the better part of the last decade towards an embrace of full-on Maximalism. As stark white walls and grey flooring give way to bright wallpapers and organically-shaped tiles, it has become clear that FUN is trending.

    As always, the best way to dip one’s toe into a new personal aesthetic is through art. Over the past five years, Houston pop artist and ceramicist Julia McLaurin has created a fan base of collectors who enjoy, seek, and embrace fun. Through sculptures depicting emojis, Goldfish, Cheese-It’z, Pop-Tarts, and Lucky Charms, McLaurin’s work glazes its way into the shared experiential psyche of Xennials looking to incorporate vignettes of nostalgia into their homes.

    “It’s nontraditional,” McLaurin says of her sculptural subjects. “I like to iconicize everyday objects, which is the pop artist in me.”

    With three young children, Goldfish crackers have been a part of McLaurin’s life for the past decade. “They are everywhere, in my car — everywhere. It’s not the healthiest snack, but it gets the job done.” It’s not difficult to understand how the popular children’s food inspired her sculptures: “It’s just such a cute shape, and I love the color.”


    View this post on Instagram
    A post shared by Julia McLaurin (@juliamclaurin)


    Goldfish wall sculptures paved the way to immortalizing other iconic 90s snack foods, plus standing sculptures of Whataburger combos, Happy Meals, and larger-than-life bottles of Hidden Valley Ranch. McLaurin’s Whataburger sculptures recently landed the artist in the Whataburger Museum of Art at SXSW. Newer works in the “Neo-Pop” genre include things like bottles of Chanel No. 5, Squishmallows, and her extremely popular emoji series.

    At just six inches in diameter, the semi-spherical, emoji sculptures are wildly accessible to anyone beginning their art journey. “I think it’s a Xennial thing,” says McLaurin. “That micro-generation between 1978 and 1983, where we didn’t grow up with cellphones, but we had them in high school and college, right? I vibe a lot with that. As a pop artist, when I first started making the emojis it was like, ‘That’s so cute, Julia! What a cute little project.’ But now I have a big installation at Hobby and I sell them all the time.”

    Houston Airport System curator of public art Alton DuLaney selected 100 emojis for Hobby Airport, with 88 installed between terminals 1-5. The very public display of McLaurin’s emojis results in the works being purchased by fans as far away as Singapore.

    As for why the emojis have such a “gotta have it” affect on people: “I think people really relate to having something that you always see in the digital realm put into 3D,” says McLaurin. “In today’s world, it’s kind of a cool effect.”

    McLaurin is locally represented by Mont Art House, but maintained a separate studio and gallery at The Silos until her move to Spring Branch earlier this year. The new “JuliArt Clay Studio” space allows McLaurin to offer monthly workshops, host ceramic painting parties, baby showers, and everything between. Next month, McLaurin will launch a six week “Clay 101” course that is sure to be a hit.

    A resident of Spring Branch herself, McLaurin decided that the continuous lack of a local art scene wasn’t going to change itself. “There is not an art scene [here],” says McLaurin. “My mission is now to bring artwork to the heart of Spring Branch. Bring it here where I live and to the people around me.”

    The new studio space allows McLaurin to invite the community to participate in art and to enjoy the space for workshops and events during slower months. “It’s nice to have a sort of two-pronged business because in the summer the gallery stuff slows down, then the classes and things pick up. It works out.”

    The ink is still drying on a representation contract in a new gallery on the West Coast. The new K&K Gallery in Culver City (Los Angeles) is the first step towards artistic manifest destiny for McLaurin: “They have a huge pop art scene out there.” What’s next for this up-and-coming irreverent pop artist? “My goal is Art|Basel, that’s my dream,” she says.


    Julia McLaurin
      

    Photo by Egidio Narvaez Photography

    Pop artist Julia McLaurin with her wildly successful emoji series.

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