FORM ATELIER

A TANG DYNASTY SCULPTURE.

A Japanese Art Deco screen. An 18th-century black basalt Wedgwood vase. For Form Atelier’s owners,

Quy Nguyen and Avril Nolan, the common thread is that every object in their showroom must resonate within the context of contemporary life. “Modernity is a state of mind,” Nguyen says. Until recently, the pair, who are partners in life as well as work, operated out of a closet-sized showroom in Manhattan’s SoHo neighborhood. Their business thrived, but the tiny space was limiting. Putting a lot on the line in the midst of a pandemic, they moved in September into a sizable loft space in East Williamsburg. The risk paid off, with their loyal clientele following them out to Brooklyn (where many of them lived). “Just like the pieces we collect, our customers are pretty diverse,” Nolan observes.

The pair like to foster an element of discovery. They research everything that passes through their doors, from Scandinavian ceramics to West African objects, unearthing historical depth and buying only from reputable sources. “We see ourselves as custodians,” Nguyen says. “We look after things we love in the same way you would tend a communal garden. Everyone reaps the benefits.” form-atelier.com

CLOCKWISE FROM ABOVE: Form Atelier’s Avril Nolan (left), in a Valentino gown, and Quy Nguyen, in an Hermès shirt and vintage pants, are seated on 1980s Italian chairs in their Brooklyn showroom; the Art Deco silver-leaf screen is Japanese, the mounted vintage Grebo mask is from the Ivory Coast, and the faience rabbit is French. A circa-1960 Jacques Quinet table and Chinese neolithic bi sculpture at Form Atelier. Nolan and Nguyen set a ceremonial spoon from the Ivory Coast in front of an antique Amish quilt. For details, see Resources.