Toogood and her “merry band of misfits” (a 13-person team of recovering architects, liberated industrial designers and art school rescues) spent last fall transforming their new headquarters-which will, as of this spring, occasionally open to the public as a gallery, shop, showroom or workshop-from a state of disrepair into a Gesamtkunstwerk. The House of Toogood, as she has dubbed her studio, sits on a corner of Redchurch Street, a hypergentrified six-block stretch of East London. Toogood’s latest microcosm-a boxy three-story building of modest proportions, with a dusty-black facade and a floor plan that narrows the higher you go-is of the literal variety. I tend to step into whatever world it is that I am making at the time, and I very much inhabit that construct.” “There have been multiple haircuts, multiple wardrobes and multiple versions of me. “I’ve created many identities,” says Toogood, who turned 40 this January. Her hair is now its natural brown, and her expressions are softer. Some five years later, Toogood is sitting in a chair of her own design, on the second floor of her new atelier, a Victorian townhouse in London’s Shoreditch neighborhood, wearing shades of beige: tan, flat-soled boots, sturdy cream trousers and a cream felt coat. She had just collaborated with Opening Ceremony, creating furniture and interiors for the fashion brand’s London pop-up. In an old photo of Faye Toogood from 2012, she is gazing rather sternly into the camera, sporting platinum-blond hair and a leopard-print mini-dress. Toogood’s eclectic new space illustrates her refusal to be defined by a singular kind of output or as a single kind of artist. An Exclusive Tour of Faye Toogood’s New Studio
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