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Inspiring Conversations with Carly Sioux Of House Of No Era

Today we’d like to introduce you to Carly Sioux Of House Of No Era.

Hi Carly Sioux, thanks for joining us today. We’d love for you to start by introducing yourself.
House of No Era started as a personal need to see spaces—and objects—differently. I was collecting pieces, rearranging them constantly, paying attention to the way environments could effect your mindset. Over time, that turned into styling, selling vintage, and eventually working with clients who wanted something that felt intentional and a little off the expected path. I didn’t come at this through a traditional interior design route. It’s always been about instinct, context, and a deep respect for both the raw and the refined. What started as a side project in one city evolved into a studio that now moves across regions—New Orleans, New York, Miami, Detroit, Cincinnati—helping people rethink how they live with objects, not just decorate around them.

Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
It hasn’t been smooth, but I don’t think it’s supposed to be. There’s a quiet pedigree in this industry that doesn’t get talked about enough. A lot of designers come into this work with a safety net—whether that’s generational wealth, connections, or the flexibility to treat it like a passion project. That wasn’t my entry point. I built this by working across cities, flipping pieces, saying yes before I had a blueprint. It takes a lot to be seen as legitimate when you don’t fit the mold or come from the “right” background. But that distance from the usual pipeline has also given me more room to experiment—and that’s where the good stuff comes from anyway.

Appreciate you sharing that. What should we know about House of No Era?
House of No Era is a design studio that works across interiors, styling, and creative direction. I’m also a dealer and specialize in sourcing bold, offbeat vintage—mostly from the 1970s through the 1990s, with a strong appreciation for Art Deco and Moderne pieces from the 1920s and beyond. I’m not following trends or replicating Pinterest boards. This work is about curation, context, and contrast.

What sets No Era apart is that I approach vintage design like conceptual art direction, not just sourcing or decorating. My process is instinctive and often surreal—I look for connections between pieces and ideas that seem unrelated until you see the thread running through them. Each collection or shoot is built around a narrative that feels both familiar and strange, whether it’s a 1970s chair appearing on a fictional coastal alien beach or a faceless figure moving through a Midwestern future. Photography and film are core to this work; I create editorial images and experimental reels that give each object a distinct presence right now, not just as a relic of the past. It’s this commitment to building atmosphere and unexpected stories that makes No Era feel different—and why clients and collectors come here when they want something with edge and intention.

Can you talk to us about how you think about risk?
Risk is part of everything I do, but not because I’m trying to be contrarian—it’s because I’m committed to being honest in my work. I don’t follow trends or wait for permission. I create what feels right, whether or not it’s understood in the moment. Sometimes that means being early—putting out visuals or ideas that get ignored until they’re picked up by bigger platforms or repackaged by someone else. It can feel isolating to watch the same concepts gain validation later, just delivered by a different messenger.

But I think there’s real power in staying true to your perspective, even when it’s not convenient or rewarded. Being independent, being an opinionated woman, and sharing work that’s personal is inherently risky. You have to be willing to be misunderstood, to be overlooked, to keep going anyway. That’s what defines House of No Era: the choice to show up fully, without diluting or performing authenticity just because it’s easier to sell.

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