In Conversation with Colony's Jean Lin

We recently had the chance to reconnect with longtime collaborator and friend Jean Lin, founder of Colony. Many know her as an advocate for independent design—both through her cooperative gallery model and her broader efforts to support social change through design. 

We spoke ahead of The Independents, Colony’s group exhibition opening May 8. The show brings together Colony’s current designers, alumni and residency grads to explore what keeps them going—the “why” behind what they do.

In our conversation, Jean reflects on a decade of building a values-driven creative practice, the importance of making room for questions and how Colony continues to evolve while staying rooted in community.

Chelsea: I know that you started Colony after putting together some group shows to support rebuilding efforts post-Hurricane Sandy, which we participated in. After those shows, you saw a continued need for gallery space for independent American designers and decided to take on that effort with Colony. Who were the first designers that you represented?

Jean: The first group included Meg Callahan, Allied Maker, Token, Flat Vernacular, Hiroko Takeda, KWH and Egg Collective. They were all people who had participated in those early shows or were part of that same network. It was about people whose work I believed in and who shared a similar spirit of experimentation and community.

Chelsea: After ten years in your storied space on Canal Street, you moved to a new gallery in Tribeca. Something that I think some folks may not know is that you’ve been a champion for independent designers with your co-operative model. Designers pay a monthly co-op fee in exchange for keeping more of their margins. What inspired that way of working?

Jean: I was frustrated by how traditional galleries operated—so much gatekeeping, opacity and extractiveness. There were incredibly talented designers making thoughtful work who didn’t have access to those systems. The co-op model was a way to create something more equitable. I didn’t want to build a gallery where I held all the power—I wanted to build something together. I didn’t know of anyone else working this way in design at the time. It just felt like the right thing to do.

Chelsea: Can you talk a bit more about the other programming that runs through Colony—like your design studio and the residency program? Does the design studio support the co-op or vice versa?

Jean: They’re intertwined in spirit but separate in function. The design studio started organically—we were building exhibitions and working on creative direction, and it naturally evolved into a services arm. The residency came later, from a desire to create space for curiosity, outside the pressure of the market. They don’t directly fund each other, but both are about supporting designers and cultivating ideas.

Chelsea: What inspired the residency program?

Jean: Honestly, just the desire to make room for questions. There’s so much pressure in this field to always be making and selling. The residency is about pausing and sitting with the “why” behind the work. It’s for designers and thinkers who are comfortable being a little lost for a while.

Chelsea: Who is the Colony client? Are they mostly based in New York or more global? What do they eat for lunch? Are they driven by ethics or aesthetics? Has moving to a storefront changed that?

Jean: [Laughs] I don’t know exactly what they eat for lunch—hopefully something well-sourced. They are definitely thoughtful people. Our clients are design-literate. They might be in the trade, but just as often they’re individuals who care deeply about how things are made and why. They care about ethics, but they also care about beauty and meaning. The storefront has brought in more walk-ins, which has shifted the energy—more discovery, more surprise. It’s added a layer of connection.

Chelsea: You championed our work in the early days of our studio and invited us to present at the Hurricane Sandy show. What is it that you look for in the designers you represent? Is there a through line across the years?

Jean: I look for integrity—in the work and the person. There’s usually a balance between concept and craft. The designers we work with aren’t trend-driven; they’re thoughtful, a little fearless. They’re asking good questions and making honest work. That’s the common thread.

Chelsea: Can you tell me a little about your team? I know Madeleine Parsons has been with you for a long time.

Jean: Yes, Madeleine has been with me for years. She’s such a grounding presence and truly integral to everything we do. Our team is small, but everyone brings a lot of heart. That scale is part of what makes Colony feel the way it does.

Chelsea: There’s a markedly relaxed vibe to Colony. I don’t think you’ve ever sent us an all-caps “URGENT” email. Do you have a policy about the language you use? What is your leadership style?

Jean: I try to lead by example and be human first. I’m not into power dynamics or performative professionalism. I don’t use all-caps in emails unless it’s a true emergency. We take the work seriously, but not ourselves. There’s more poetry than panic here, and that’s intentional. The culture is about trust and respect.

Chelsea: What makes you excited or hopeful about the future right now? Is there a project you’re working on that you can’t stop thinking about? Tell me about The Independents show coming up for NYCxDESIGN.

Jean: I’m excited because people are still making deeply meaningful work—even in this moment of uncertainty. That gives me hope. The Independents is a celebration of designers doing things their own way—not about big budgets or big names, but about vision. We’re showcasing new voices, and the energy is really alive.

Chelsea: Can you tell me a little bit about your own home and how you live with art and design there? I know you have a young son—how do you think growing up around the gallery is shaping his worldview?

Jean: Our home is full of objects that matter—pieces by friends, things that tell stories. It’s not precious, it’s lived-in. My son has grown up in the gallery and around the designers. He’s already asking interesting questions. I think he’s learning that creativity and care can show up in all kinds of ways—and that there are many ways to be in the world.

Chelsea: Things have been… let’s say “weird” for a lot of small business owners in our industry over the past few years. How are you thinking about the next few years and beyond for Colony?

Jean: Yeah—“weird” is a good word. But weirdness can be clarifying. It forces you to reassess, evolve. I’m focused on keeping the spirit of Colony intact while staying open to new directions. Maybe we’ll lean more into the residency, or into publishing—maybe something entirely unexpected. There’s no five-year plan, but we’ll keep making space for good work and good people. That’s the constant.

If you’re in New York this month, The Independents is May 8-21 at Colony and Grain will have new work included. To attend the opening, please RSVP here.

You can also find Jean hosting Flood the Zone, a series of conversations where industry and culture leaders explore how we can use our creative voices as tools for positive disruption on May 17-19 at Shelter.