Zara Khan is an architect and publisher, based in Dubai. I sat down with Zara, aka @zaramakes, to discuss Issue 01 of Informal Studio, an experimental design practice that explores personal curiosities across disciplines such as architecture, product design, fashion, and technology. We spoke about the origins of Informal Studio, challenges getting the zine off the ground, as well as what lies ahead.
What is Informal Studio and what interests you about it?
Informal Studio is a small platform I started to explore ideas in design, architecture, and culture in a very loose and unfiltered way. It’s a space where I can talk to people who inspire me, document conversations, and test thoughts without the pressure of perfection or formality. What interests me about it is the freedom, it’s essentially my playground. It lets me move between disciplines, follow things that make me curious, and best of all is to connect with cool people from completely different backgrounds.
What was the impetus behind Informal Studio?
It began very simply: I had all these ideas, questions, and inspirations sitting in my journal with nowhere to go. Although I enjoyed developing these ideas in solitude I realized it would be such a shame if I did not share this with the world. At the same time, I kept meeting people whose stories and work moved me, and I wanted a way to archive those exchanges. There was also a desire to understand my own position as a designer, understanding how I think and how other people shape their practice. So the impetus was both personal and communal, a need to express and a desire to listen.
What was your idea for the project when it started and how is that different from what it looks like today?
When I first started, my idea was very modest. I imagined short conversations, observations, maybe a few essays. But as it grew, it became more outward-facing. The interviews became richer, the curation became more intentional, and the project naturally evolved into something more tangible, like the first printed zine. Today it feels more like a living archive of people, thoughts, and places that influence me.
There’s a quote by Juhani Pallasmaa that I always think about: “The door handle is the handshake of the building.” The first touch sets the tone. To me, the cover and feel of a book work in the same way, the tactile encounter is magical. Makes you feel before you think.
What was the most challenging part about creating the first zine?
The hardest part was editing. I had so much content, so many ideas, and it was difficult to decide what belonged in Issue 01 and what didn’t. I also struggled with trusting the process since it was my first time producing something physical for the platform, there was that pressure of wanting it to feel cohesive and sincere. Maybe I was being too formal? Logistically, coordinating printing, layout, and timelines while also working full-time was another challenge.
The only real way to understand how a book comes together is to make one yourself.
What's the actual process behind making the zines? How were they printed? How did you go about binding them? How did you learn how to make a zine?
The process started by revisiting all the conversations I’d collected for Informal Studio. I always begin with more material than I need and gradually curate it into what feels essential. Once the content was set, I moved into layout, testing typography, pacing, and the balance between text and imagery through several prototypes. My friend Andraž, based in Tokyo, helped refine the design; his critical eye elevated the project in ways I couldn’t have done alone.
The zines were printed locally on matte, uncoated paper, to achieve a tactile, handmade feel rather than a glossy, commercial one. I tested different paper weights and finishes before choosing what felt right. For the binding, I tried everything from sewing machine tests to Japanese stab binding before landing on a simple Singer-sewn stitch that suited the scale and spirit of the publication.
I learned how to make a zine entirely by doing. Everything came through trial and error, tutorials, visits to print shops, and a lot of curiosity. The only real way to understand how a book comes together is to make one yourself.
What’s the relationship between the zine and the jewelry brand?
The jewelry brand (which will be launching soon) and the zine share the same attitude of ”informal-ness”. The jewelry is about material exploration and form; the zine is about ideas, people, and conversations. They feel like two branches of the same tree, both are ways for me to understand the world and express something.
How do you think about the nature of things being interdisciplinary, especially in a profession where you’re expected to fit in a box?
Being interdisciplinary feels natural to me. I don’t see “architecture,” “jewelry,” or “publishing” as separate boxes. They overlap in how they require intuition, care and creativity. I think today’s creative world allows and even rewards moving between these spaces. For me, it’s less about fitting into a defined role and more about building a practice that feels honest.
What’s next for Informal Studio?
I want to continue interviewing people across disciplines and eventually create a small library of printed issues. I’m also interested in hosting tiny gatherings or workshops, maybe collaborations with other creatives. Long-term, I imagine Informal Studio becoming a hybrid platform: part archive, part publication, part community. But for now, the focus is on Issue 02. For then next issue I want to open up the floor to people around the world. Stay tuned to find out more!
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Be sure to reach out to Zara if you’re interested in grabbing a copy of the zine and supporting the project. You can follow along at the links below.
River: informal_studi0 / @zaramakes
Instagram: informal_studi0
Website: https://informal-studio.com