Somewhere between the overt and the obscure is balance, and for many, it's a hard chord to strike. Not so for Nina, who loves simplicity yet is simultaneously averse to being overly casual. You'll never see her in jeans with a t-shirt outside - only with a more formal cardigan and a scarf - let alone the ubiquitous flip-flop. She's impartial to the equilibrium of graphic patterns like black and white, which is visible in her striped blazer and speckled ponyhair booties. And like her quintessential Phillip Lim high-waisted tulip skirt and indigenous scarf or her Roger Vivier patent flats, Nina's minimal yet gracefully present sensibility translates to her interior design aesthetic. For her, " about editing, and being aware. Trying not to turn into a hoarder, basically. It's about not saving every single little thing, it's about not placing emotional value on items - on every single item."
Just like her coveted Tom Binns necklace is both classic and edgy with pearls and safety pins, Nina finds freedom in working within the existing structures. It is an art that she developed while wearing uniforms in boarding school. "It was about the small things we could do with our uniforms, or within the structure, and everyone was very specific. Working within the structure was very freeing, in a way." She spent five years studying architecture at RISD and then decided to take what she refers to as "learning something about everything" and become an interior designer. What stands out most for Nina about her fond memories of her family in Munich and the German traditions are how set-specific the scene was. "It was always me looking around, being a little bored about the conversation, and looking over and seeing, say, the heart-carved oak chair sitting in the corner."