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SO MINT! dig in by Lilli Malou Weinhold

Folkwang University of the Arts

Meet Lilli Malou Weinhold, a German artist currently residing and working in Düsseldorf. Lilli’s passion lies in the realm of handmade design, craftwork and exploring novel materials. Recently, she graduated from Folkwang University of the Arts, earning a bachelor’s degree in Industrial Design. Lilli perceives design as a playful and subtle tool, capable of initiating meaningful dialogues and engaging conversations. She has embraced an interdisciplinary approach, immersing herself in various disciplines and workshops.

DIG IN – Jewellery Objects: A Fusion of Design and Dining Culture is a graduation project that plays with the traditional perceptions of form and function. These hybrid objects encourage users to actively contemplate the design of their eating tools, fostering a more mindful and personalised dining experience.


Crafted from silver, these pieces aim to blur the line between eating utensils and jewellery, by allowing them to be elegantly displayed and adorning the body while fully in use. Each piece is tailored to fit the needs and hands of its individual user, making it a unique culinary companion with the accent of personalisation.


Echoing historical customs from the 16th-18th centuries, where cutlery sets were ornately adorned and carried in quivers like cherished pieces of jewellery, ‘DIG IN’ revives past traditions and embraces individuality. As the dining culture in Europe undergoes transformations, this project aims to challenge the conventional western cutlery and dining habits, enhancing the experience of dining.

Current Obsession: What ideas or themes inspire your work?

Lilli Malou Weinhold: The ideas and themes that inspire my work stem from the observation of my own and others’ perceptions of objects, materials, and circumstances. I am intrigued by the profound impact that certain objects or materials can have on our emotions, evoking feelings that are difficult to express in words but hold deep significance for us. I constantly question why some objects trigger such strong emotional responses whilst others seem to leave us indifferent.


This exploration of emotions and connections to objects makes my design work a deeply personal endeavour. Through presenting and displaying my creations, I seek to investigate how others react to them, further delving into the complexities of human experiences and responses to design. My work is not limited to mere exhibitions; it is an ongoing journey of research and discovery. By continuously examining the interplay between objects and emotions, I aim to create designs that resonate on a profound level, forging meaningful connections between users and the artefacts with which they interact. This continuous investigation fuels my passion for design, driving me to develop innovative and evocative creations that provoke thought, spark conversations, and elicit diverse emotional responses in a playful manner.

CO: How do you envision the future of the field you have chosen and your practice within it?

LMW: I envisage the future of design to be more subtle and accessible, breaking down barriers and reaching a broader audience. Within the design scene, there are already numerous outstanding and sustainable approaches and concepts, but they often remain out of reach for those who are not in the field of design. To pave the way for this future, I believe it is crucial to familiarise users with ideas, concepts, and materials through interdisciplinary and interactive approaches.


My vision for the future is one where design is perceived as a versatile tool rather than just a solution. By embracing this perspective, I aim to continually reorient my approach to address the pressing questions and challenges of our time. Design, for me, is a means to make a positive impact, and I hope to use it as a powerful tool for change and improvement.

CO: Could you describe your approach, and how does it reflect tradition, current trends or push boundaries within the field?

LMW: My approach to design is rooted in the belief that “New isn’t always better.” I find that many previous traditions and customs of handling and interacting with objects, though forgotten over time, hold great relevance in the present day. Drawing inspiration from these forgotten customs, I aim to challenge the notion that design must always be entirely new. Instead, I seek to revive old traditions and adapt them to suit the needs of the future. In this way, my approach reflects a blend of tradition and modernity, embracing timeless elements whilst pushing the boundaries within the field. By revitalising past practices, I strive to offer a fresh perspective that resonates with contemporary sensibilities, enriching the design landscape with meaningful and thoughtful creations.

Follow more of Lilli Malou Weinhold’s work on Instagram via @lilli_malou.

Photo credits:

Camera and lighting: Jan Buschmann & Marvin Hillebrand

Clothing: René Niesénberg 

Models: Malte Kämmerling, Hadidja Kpekpassi, Jimu Kobayashi, Ruth Magers

Copyright: © Lilli Malou Weinhold, Jan Buschmann, Marvin Hillebrand



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