Marissa’s career is linked to her high respect for craft. Initially hired by craftsman Dakota Jackson as Director of his custom furniture studio, she eventually attracted the attention of Martha Stewart Living Omnimedia. As Design Director at Martha Stewart she evolved to designing and managing large projects. In 2018, the CEO of Stickley, impressed with Marissa’s deep knowledge of materials, process, and trends invited her to become their Director of Design. Marissa Brown, Stickley Furniture Designer
Marissa, you have a storied background in the home furnishings industry, having worked with the legendary Martha Stewart, along with collaborations with Bernhardt and now as Director of Design with the venerable NY based furniture-maker Stickley. Please tell us what attracted you to the home furnishings industry and what it has been like to develop product for these iconic brands.
My love for design developed over time. Right after school, I joined Dakota Jackson’s design studio, where I built models and worked hands-on in the shop. The studio was connected to the factory, so I saw the full process—from concept to finished piece—which taught me the value of collaboration between designers and craftsmen and gave me a deep respect for detail. Early on, I was driven simply to create. I didn’t have everything figured out, but I wanted to make things that were beautiful, functional, and meaningful. As my work began to resonate with others, I became more intentional about what I designed and why. Working with well-known brands was a turning point. Designing within someone else’s identity was challenging, but those constraints helped me grow. I learned to adapt to different brand voices while still bringing something of my own. Designing for Martha Stewart sharpened that skill even further. I had to create across “good, better, best” tiers while staying true to the brand, balancing broad appeal with strong design intent. That experience prepared me well for what I do now. At Stickley, I feel like I’ve found my stride. I design pieces that are built to last and enhance daily life, alongside some of the most skilled craftspeople in the industry. Seeing my work next to classic Stickley pieces reminds me I’m right where I belong.
“I design pieces that are built to last and enhance daily life.” Marissa Brown
Stickley has such a long history of furniture and cabinet making, going back to the turn of the 20th century with brothers Gustav and Leopold Stickley, whose Craftsman designs and Northern-European influence inspired an Arts and Crafts movement in this country that still exists today. While Stickley now represents a much wider variety of product design, is there something about Arts and Crafts design that inspires and influences you?
Absolutely. Arts and Crafts design, especially as pioneered by Gustav and Leopold Stickley, has a timeless quality that continues to inspire me. The emphasis on honest craftsmanship, natural materials, and simplicity of form resonates strongly with me. Even as styles evolve and Stickley has broadened its product offerings, that core commitment to quality and design integrity that has a purpose remains relevant. I love working the exposed joinery into designs where appropriate. For me it’s a reminder that beauty doesn’t have to be excessive but can be found in well-crafted, purposeful pieces that stand the test of time.
The Stickley consumer is more often referred to as a “collector” than a “customer”, where their acquisition of Stickley pieces over a lifetime is a coveted honor; what do you feel drives that attraction and loyalty to your brand?
Stickley is celebrating 125 years of craftsmanship, and our collectors and loyalists truly see and value that history. The design is authentic, grounded in an understanding that each piece is made to last. Built from solid wood, a Stickley piece isn’t just furniture but an heirloom. What truly sets us apart is the integrity of our construction with features like side-hung, center-guided drawers and time-honored joinery techniques that ensure strength, stability, and smooth performance for decades.
With an office and home in New York City, you are right in the center of design influence in the U.S.. Our readers and designers would love to know about what you value most (professionally) about living and working in NYC.
There’s something about the energy of New York that’s hard to put into words. It’s this constant undercurrent of creativity and movement. When I was younger and living in the East Village, I felt a real urgency to be everywhere—at art openings, shows, and designer events—just to soak it all in. That fear of missing out is real, especially in a city where so much is happening all the time. These days, I live in a quieter neighborhood in Brooklyn. I walk my dog in the park, and life feels a little more grounded, but that energy is still there, manifesting in a different way. It’s in the streets, the mix of people, the architecture, the conversations overheard at a café, or even something mundane like an old sign or a storefront. As a creative, I’m always absorbing my environment. New York is full of unexpected details that find their way into my work—sometimes without me even realizing it. What I value most about being here is that constant sense of access to inspiration. Being exposed to new trends, new ideas, and witnessing people doing incredible things in every field keeps you sharp—but also keeps you humble. I’m always observing. There’s always something new to see, learn, or respond to and that’s what keeps me here.
“In my Brooklyn apartment, space is limited, so every piece of furniture must earn its place, both visually and functionally. One of my favorites is the Walnut Grove barstool I designed for Stickley” Marissa Brown
Please tell us about your early influences in interior and product design.
My early influences came from a home shaped by history, travel, and storytelling. My father, a writer from the Bronx, and my Dutch-born mother, who spent part of her childhood in Indonesia during WWII, both brought rich perspectives to how we lived. We spent time in London and traveled often, collecting pieces along the way like Hans Wegner chairs, old Dutch cabinets, family heirlooms from Upstate New York. Every object in our home had a story. My father encouraged me to notice design details and to really look at things. That early exposure to thoughtful design and the emotional weight objects can carry sparked my lasting interest in interiors and furniture, particularly the connection between form, function, material, and craft.
One especially pivotal moment came when I accompanied my dad on a trip to Denmark, where he was writing an article on Danish design. We visited Hans Wegner in his home studio, and he showed us the small models of his chair designs—each one carefully crafted by hand. As a young designer just starting out, seeing that process up close was transformative. It grounded everything I believed about design: that great ideas start with the hands, with curiosity, and with a deep respect for materials and the act of making.
Stickley are masters of veneer work and inlays. Can you give our readers some insight on why veneer work is so prized at the upper-end of wooden furniture furniture makers?
Inlay has long been a distinctive and expressive element in Stickley furniture. Rooted in the Arts and Crafts movement, it reflects the belief that even the smallest details are important. Thin pieces of contrasting or tinted wood are carefully set into surfaces to create elegant motifs like floral abstractions, landscapes, or geometric forms that elevate the piece and often carry a message or deeper meaning. The designer Harvey Ellis helped shape this tradition during the short time he worked for Gustav Stickley, bringing an artful and delicate touch to the furniture. His subtle inlays in chair backs, cabinet doors, and tabletops added refinement to the forms and that same spirit continues today.