FAINA

DUZHYI stools — a series of animistic pieces with a living spirit.

The grounded, naive forms of the design pieces incarnate the ongoing desire for firm ground underfoot.

Discover the limited-edition collection on our website.

Circular motifs of the SONIAH sconce are derived from the ancient beliefs. From early times our ancestors built their lives around the solar cycles and lived in harmony with nature.

In SONIAH, we are going back to the basics and pass the century-old story on.

Handsculpted, available in three sizes.

Shaped by silence. A selection of FAINA pieces in a palette of quiet neutrals, where refinement is measured not only in color but in the material and the time given to it. Discover the works at victoriayakusha.com

The material ZTISTA was invented by in 2018, over a long period of time many experiments were done to find the optimal mixture to make sustainable material for creating optimal and diverse shapes.

The first object made of the material was a ZTISTA chair. The plastic silhouette and slightly primitive form of the ZTISTA furniture line bring us back to childhood when you could create an object with your hands, even non-existent.

Discover ZTISTA furniture line on the website.

STRIKHA lamp

Woven from willow vine by hand, following a craft that has been passed down for centuries. The circular form is ancient in origin — a symbol of continuity, of gathering, of home.

Produced in dark willow.
Available in three sizes and as a table version.

victoriayakusha.com

GRUN chair

Four weighted legs widen toward the earth; the backrest splits in two, creating a silhouette that carries the memory of something older. One of FAINA’s animistic creatures — a chair with a quiet, grounded presence.

Upholstery to specification.

TOPTUN Chair

A sculptural lounge chair defined by softened geometry and rounded architectural lines. Upholstered in tactile ivory textile, the piece explores comfort through minimal form.

The GRUN bench was designed as a grounded form — quiet, weighty, almost geological in presence.

Above it, the largest DREVO steel panel holds the memory of a tree translated into metal: surface worked slowly until light itself became part of the composition.

Two materials in dialogue.

Available at victoriayakusha.com