Tasked with creating a digital third space for readers, dreamers, and those curious about the wider world of NOON ALL DAY, Olly Mason and Julia Ippolito applied their singular vision. The result is a digital haven, distinct in its use of negative space and grey-scale, from the more optimised and functional worlds of commercialism and advertising.
‘It was all thanks to the freedom we were given,’ says Mason. ‘That allowed us to move into something more poetic and experiential. As we worked, the Japanese concept of Ma emerged naturally. It provided us with a framework for understanding how silence, emptiness and omission, can hold as much meaning as what is physically present.’
For both, Ma became a way of seeing. ‘It taught us to see space as a living element,’ says Mason. ‘Not emptiness, but potential. In the imagery, the gaps between elements are as important as the elements themselves.’
Ippolito agrees. ‘It reflects the NOON ALL DAY philosophy of pressing pause; valuing those intervals in which ideas are able to breathe. In this way, we want to invite interpretation.’
One outcome of this approach was a black-and-white cinematic still-life sequence. It was conceived to reset the ways that we intuitively navigate the digital world, setting expectations for a quieter reading experience. This intentional slowdown acts as a counterpoint to the relentless pace of online culture, offering a rare moment of calm in an environment that rarely stops.
‘It’s not a moving film,’ Mason explains. ‘It’s a carefully composed sequence of still frames — each a frozen moment focused entirely on a single surface: polished stainless steel. It’s a minimalist exploration that strips imagery to its essence, inviting viewers to find their own meaning in its hues and shapes.’
Ippolito describes the surface as both mirror and canvas. ‘In black and white, its reflective qualities become heightened’, she says. ‘Subtle shifts of light and shadow reveal abstract shapes with quiet intensity. Each frame feels like a breath, a stillness within the digital stream.’
Despite the simplicity, the images created through this process are suggestive, maybe even emblematic. ‘The reflections create layers of ambiguity that reward close attention,’ says Mason. ‘There’s a tension between presence and absence, visually capturing Ma through light, shadow, and emptiness.’
Only by practising restraint, were the pair able to really draw out the latent complexities in the stainless steel. ‘We experimented with lighting angles to bring out the material’s nuances without overwhelming the viewer,’ says Ippolito. She points out the integral importance of remaining still. ‘Choosing still frames over motion magnifies the pause — there’s no rush, no distraction.’
Asked how they made these discoveries, and chose to incorporate them into the work, the pair come back to that point about freedom. ‘It’s rare to be trusted like that,’ says Ippolito.
‘Catherine’s aesthetic is refined, but she consciously steps back and allows our sensibilities to shine. It shifts the dynamic between client and designer, and allows us to really focus on exploring philosophy, mood and atmosphere.
‘Catherine values dialogue with creatives, inviting expansion rather than replication. That gave us the confidence to experiment and deepen the brand’s emotional resonance.”
Olly Mason is a London-based creative director and stylist, who brings a distinctive perspective that is shaped by her time as Head of Interiors at Wallpaper. Julia Ippolito, a 3D artist and architect in Antwerp, draws on her deep understanding of form and space to create visuals that celebrate the interplay of light, material, and composition. Together, they merge these perspectives into a unified visual language—thoughtful, refined, and quietly powerful.
