Jonaaa sees the act of creating as a need, his desire knows no bounds and this has prompted his move from fashion into the realm of furniture design. His projects come from a creative place where he can express his thoughts (cosa mentale), a space for his “grey zone”, a thought process that insinuates into and alters the notion of dichotomy, proposing an alternative to notions, some time opposing other similar: black and white, black and grey, heavy and light, transparent and opaque… He prophetically composes a space within a space, taking his inspiration from architectural and urbanist references. His urban experience, where he shares his time between tribes of young artists and creatives, feeds into his “grid” and his constantly moving visual organisation. Grids, segments, superimpositions, these perspectives express a truly urban energy and feed his creativity.

His first furniture collection entitled 'stoelen en tafels enzo' is a logical continuation of this thought process. A visual communication of the ideal that the grid can support in a current space and current time. It constitutes a new means with which to satisfy Jonaaa urge to invest a space. Not unlike Andrea Branzi’s No-Stop City, (1969), a theoretical project that proposed a model for global urbanisation, Jonaaa implements the idea of the disappearance of furniture inside the house. He creates a critical utopia based on a realist vision of design as a conceptual tool that modifies lifestyles. The habitat becomes a place that can be lived as a creative and personal activity by the individual. This radical analysis of architecture and design thus proposes a model of immaterial objects that have been divested of all symbolic value. The functional volumes of Framing collection are neutral, minimalist and intelligible, designed using an underlying structure of iron wires, taking inspiration from his architectural profession, resulting in a form of elevation. Paradoxically, these cages with their infinite limits, provide a clearly defined function as chairs and tables. The proportions are precise and meticulous, Virgil Abloh never forgets his engineering background, the volumes are transparent and precise and designed with consideration of weight distribution and redundancy. A conversation begins between the table and the desk, between the lightness of the structure and the weight of the marble slab, between the geometric grid and the random beauty of the natural materials. The mechanical manufacturing of the structure of the pieces contrasts with the artisanal engraving of the words “stoel” and “tafel”, the letters scarify the surface of the marble for eternity, not unlike grave stones.