What does it mean to turn nostalgia into something tactile, loud, and utterly unforgettable? Edmonton-based Nehiyaw Iskwew multidisciplinary designer Rashelle Campbell is answering that question—one vibrant rug at a time. Featured in the brand new CBC series On Design, Campbell is among a standout group of Canadian creators whose work brings everyday objects to life through powerful design. In this Q&A, she shares how her Cree identity, playful aesthetics, and passion for storytelling inform her creative process—and why rugs are the perfect canvas for innovation. —Noa Nichol
Your rugs are vibrant, bold, and nostalgic—how do you approach balancing tradition with innovation in your work?
I don’t really think much about balancing tradition and innovation—it’s not a big priority for me. I actually try to stay away from tradition in my creative process because I’m always looking to push what home decor can be, especially when it comes to how we bring pieces into our own spaces.
When I first started making rugs back in 2020, my first thought was to create something for my living room that wasn’t like everything else out there at the time—symmetrical, super neutral rugs. I wanted something bolder and more playful.
The only traditional aspect of my work would be the materials I use for my larger-scale rugs—typically New Zealand wool, and more recently, silk bamboo. These fibers are dyed using hand-dyeing techniques, often relying on the sun to bring out the richness and vibrancy of the colours.
As a Nehiyaw Iskwew designer, how does your identity inform the textures, colours, and stories you bring to life through your art?
Being Nehiyaw Iskwew is such a gift—our people are naturally colourful, expressive beings who tell stories through colour and creation. I’ve always believed my hands are my greatest tools and the love of colours is within my blood from my ancestors. My ancestors and family have worked with their hands for generations, and that connection lives on in me. I’ve always kept my hands busy, and that energy is woven into every piece I make.
Your work often evokes childhood memories and cultural symbols. What role does nostalgia play in your design process?
Nostalgia is everything to me—it’s honestly in my bones. I remember feeling so happy as a kid surrounded by pop culture and the way brands looked back then, and I try to bring that same joyful, nostalgic energy into my designs while still trying to keep MCM and a little of 60s grooviness.
At some point, we’re told we need to “grow up” and make our spaces feel more mature—which I totally get. I mean, it might be a bit much if my room was still covered in Hilary Duff posters! But my design process is really about finding that balance of child-like and maturity. I create for people like me who still want to hold onto that sense of fun and playfulness, while also having a home that feels elevated and intentional.
My pieces are like living art—they carry textures, colours, and stories from how I experienced the world growing up, especially in the ’90s and early 2000s. That era still deeply shapes how I design today & 4ever <3
From concept to completion, what does your creative process look like when designing a new rug?
My creative process usually starts with a quick, improvised sketch—I don’t like to overthink or dwell on the design because I can get way too critical of my own work if I stare at it for too long. Once I’ve got the sketch, I head to my yarn stash and start comparing colours. I love pairing shades that either have bold contrasts or are super close but with subtle differences in tone.
After picking the colours, I stretch my monk cloth on the tufting frame, hand-draw the design from my sketch onto the cloth, and then jump into tufting! How long tufting takes really depends on the rug size. When it’s done, I back the rug with adhesive and fabric. The final step is grooming—basically giving the rug a little haircut. It’s honestly so satisfying; I usually sit and watch The Real Housewives while trimming the yarn.
Tufting can be pretty physical, so I don’t do it as much anymore. I outsource most of my rugs overseas now, which has been amazing because it frees me up to stay in my design bubble and focus on standing on businesssssss!
What was it like to be featured in CBC ON DESIGN? How did it feel to have your creative journey documented for a national audience?
At first, I wasn’t sure about doing it! I don’t usually love the idea of being filmed while I’m creating because it’s such a personal, private time for me. I’m often in a sweatsuit, listening to stand-up comedy on my headphones, giggling to myself, so I was hesitant to have it recorded—I wanted it to feel as real and authentic as possible.
But I told myself to lean into the discomfort and trust the process, and I’m so glad I did because it ended up being SUCH a fun experience. I’m really grateful to the whole team—they totally got that I didn’t want it to be too serious and made a space where I could just be myself.
The only tricky part was during the interviews—sometimes I’d crack a joke, but they couldn’t laugh because it was being recorded (obviously), so it was a tough crowd!
What advice would you give to other Indigenous artists looking to blend cultural expression with contemporary design practices?
My advice would be to just keep creating —whether it’s traditional art or something more contemporary. If it’s made by Indigenous hands, it is Indigenous, even if the design doesn’t look “traditional.” We are shape-shifting, evolving, and growing—and so is our creativity.
We are vibrant, resilient people full of stories and ideas, and it’s so important to pour all of that into your work. Creativity is incredibly healing, and I’m truly excited to see what future generations of Indigenous artists will bring to the world.
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