MYA ROYAL is an independent multidisciplinary atelier working across couture, printmaking, textiles, ceramics, photography, installation, and cultural development through studios and collaborations in both the United States and Italy. Over time, the work has unfolded through a sequence of evolving environments such as underground Cambridge studios filled with drying monotypes and books stacked beside sewing machines, Florentine workrooms washed in late afternoon light, harbor-facing ateliers along the New England coast, and public-facing salons where garments, artworks, conversation, and daily life gradually merged into a shared atmosphere.

Rather than separating fashion from art, object from environment, or production from lived experience, the atelier emerged slowly as an interconnected world shaped through years of material experimentation and observation. Garments, works on paper, textiles, ceramics, photographs, found objects, fittings, installations, sketches, and unfinished ideas often coexist within the same physical spaces. A worktable covered in tracing paper and thread might sit beside wet ink drying across handmade monotypes. Botanical fragments collected during walks reappear later within printed textiles. Harbor light enters through studio windows and settles across fabric, paper, plaster, wood, pigment, and stone. The spaces themselves become part of the language of the work.

The foundations of this world began through early studies in fine art and printmaking, particularly monotype processes developed over many years of studio work in Massachusetts, Vermont, and Florence. Hand-cut stencils traced directly from live models, accompanied by flowers, stems, leaves, and organic forms preserving veins, shadows, and imperfections within the printed surface itself. These layered impressions gradually evolved into an ongoing visual vocabulary exploring memory, movement, transformation, fragility, and the relationship between the body and the environments it inhabits.

As the ateliers evolved, the language of printmaking began to absorb architecture, textile construction, and fashion simultaneously. Ink, paper, fabric, photography, and garment structure entered into dialogue with one another. Original monotypes migrated slowly from paper into cloth through photography, scanning, digital manipulation, and textile printing processes. Collections emerged through this continual movement between disciplines, allowing images first created by hand within the print studio to later reappear as garments, surfaces, and wearable environments.

Following undergraduate work in the United States, the studio expanded through graduate studies in fashion design at Accademia Italiana in Florence. There, historical craftsmanship, Renaissance architecture, artisan workshops, and the rhythms of Florentine daily life became deeply embedded within the atmosphere of the atelier. Narrow stone streets, aging plaster walls, leather studios, market stalls, church bells, textile archives, and the discipline of Italian sartorial construction all entered quietly into the development of the work. During these years, independent ateliers and boutiques began forming between Florence and New England, functioning simultaneously as workrooms, exhibition spaces, salons, archives, and lived creative environments.

Over time, the work continued expanding across couture collections, textile experimentation, exhibitions, editorial collaborations, installations, and cultural initiatives rooted in place and community. Atelier spaces in Cambridge, Florence, Plymouth, and Boston each contributed distinct emotional and architectural layers to the evolution of the studio from intimate basement workspaces and Florentine apartments to waterfront production ateliers overlooking Plymouth Harbor and public-facing salons operating within historic cultural buildings on Newbury Street.

Alongside couture, the studio later developed iñi, a made-to-order collection translating original artworks, monotypes, color studies, and experimental textile surfaces into contemporary garments designed for movement and everyday life. Through sublimation printing and digital textile processes, works originally created through direct physical engagement with ink, pressure, pigment, and paper continue evolving into wearable forms while preserving the visual language of the atelier itself.

Across all disciplines, the work remains rooted in slowness, material sensitivity, observation, and the belief that creative life is inseparable from the environments through which it unfolds. The ateliers continue to function not simply as production spaces, but as living archives, meaning places where garments, images, objects, memory, and daily ritual accumulate gradually over time. Ink dries beside fabric. Paper curls near open windows. Harbor fog moves across studio glass. Conversations continue long after fittings end. Collections emerge slowly through years of looking, making, gathering, and returning.

The work remains ongoing.