Meet Claudia Claude - a versatile and ultra-talented artist who designed "The Best of the 70s" prints for us. Claudia designs textiles, artisan tufted rugs, creates murals, set designs, and minimalist posters. "Design is a way of thinking for me, not one specific field," says Claudia, and we are happy that this time she translated her talent and imagination into prints for Risk. Here's what she told us about the inspirations behind these designs, what she finds most appealing in the aesthetics of the 70s, why she often uses plant motifs, and what she loves about her work.

Where did the inspiration for the prints for Risk come from?

The inspiration for designing the patterns for Risk's new collection came from two main themes: "Love Letter to Warsaw" and "Nature Therapy."

In response to "Love Letter to Warsaw," I wanted to pay homage to one of the artists associated with Warsaw, Henryk Stażewski, whose work has been very close to me for years. His works, full of geometry, rhythm, and consciously built color relationships, have long been a source of inspiration for me. It was from them that "The Best of the 70s Stripes" print was created.

It is a direct reference to Stażewski's characteristic visual language, simple forms, stripes, and geometric compositions. I prepared several variations inspired by his abstractions, but ultimately we chose classic stripes. It's a timeless motif that works well on various clothing styles and gives designs great versatility. The color scheme was also very important to me. Color plays a huge role in my design, just as it did in Stażewski's work, so the palette was built based on the colors present in his paintings.

The second starting point was the theme "Nature Therapy." Here, geometric patterns and the aesthetics of the 70s, which have long been present in my work, became my inspiration. It was from this fascination that three more patterns emerged: "The Best of the 70s Small Flowers," "The Best of the 70s Big Flowers," and "The Best of the 70s Figures."

"The Best of the 70s Small Flowers" and "The Best of the 70s Big Flowers" are my interpretation of the characteristic small floral motifs from that decade. I wanted to create patterns that would be both nostalgic and fresh, full of color, yet light and timeless.

"The Best of the 70s Figures," on the other hand, is playing with simple geometric forms. It's a print full of energy and rhythm, which perfectly captures the spirit of the 70s - bold, free, and full of optimism.

Color has always been one of the most important elements of my work, so here too I paid great attention to the color palette. Dominating are characteristic 70s warm browns, oranges, and nature-inspired shades, which build the atmosphere of the entire collection.

What do you like most about 70s design, art, and culture?

The aesthetics of the 70s have always been very close to me. It's a period I regularly return to when designing. I love the freedom, courage, and naturalness that were present in both design and fashion.

I really like that the fashion of those years moved away from a rigid division into day, afternoon, or evening wear. Functionality and individual style mattered. I think "The Best of the 70s Figures" print perfectly illustrates this; trousers with this pattern will work equally well for a morning meeting with a client, an afternoon trip out of town, or an evening get-together with friends.

I am also inspired by the spirit of that decade, namely independence, the need for self-expression, and courage in building one's own identity. The patterns of those times were bold, colorful, and full of positive energy. Personal style was more important than blindly following trends.

The philosophy of the hippie movement, freedom, openness, tolerance, and respect for others, is also close to me. These are values that are important to me not only in design but also in social life.

Why do you so often use floral and plant motifs?

Nature has always been my greatest source of inspiration. Plant motifs were the first ones I decided to tattoo on my body. Today, I think I intuitively sought peace and balance in them. I like to design patterns that carry good energy. And nature does that best.

How did working on prints for Risk differ from designing rugs or textiles?

Actually, working on patterns for a clothing collection was very close to me. Designing patterns is something I've been doing for years and it naturally combines my graphic design experience with the education I gained studying industrial design.

The greatest satisfaction comes from the moment when a project ceases to exist only on a computer screen and becomes a real object. I like it when my designs end up on usable products such as clothes, rugs, or textiles, because then they start to live with people.

I feel that a well-designed pattern can function for many years, accompany the user daily, and bring color and good energy to their surroundings.

What fascinates you most about what you do?

I consider myself a multidisciplinary designer. Design is a way of thinking for me, not one specific field. I'm fascinated by how one idea can appear on fabric, a rug, a wall, or in a set design. I look for inspiration everywhere: in art, architecture, music, film, and photography. I most enjoy the moment when a project stops being just an image and starts to create new visual or functional values. In my work, I'm fascinated by the multidimensionality of projects and how I can express myself on many levels by engaging in design. Each new assignment is another adventure and experience for me.