Talent Crush: Katie McIntyre
Katie McIntyre, founder of MATRIARCH and Katie McIntyre Studio, a modern-day Renaissance woman, is shaping the world through intentional design and unique feminist lens across music, fashion, film, visual art, and technology. McIntyre’s authentic approach to female futurism and innovation has led her to prolific collaborations with female trailblazers like Nicki Minaj, Cardi B, Bebe Rexha, Shenseea, and Lizzo. If patriarchy literally means the rule of the father, acknowledging the rule of the mother is equally important. Semantics like that are logically equivalent, yet gender equality is still something humanity can not cross off its extensive to-do list. Change needs power, but it doesn’t start with it — it starts with intent. A butterfly flaps its wings in the Amazon rainforest, and subsequently a hurricane forms in Texas.
KELLY KORZUN: We live in a world of ever-declining attention span, but for all attentive visitors reading your official bio on katiemcintyre.co, there’s a bonus concluding all impressive accolades: She was born and raised in a small forest town near Toronto, Canada. The emphasis on your roots and the soil that nurtured you seems very intentional. How do you think this specific environment influenced the way young Katie began to see the world?
KATIE MCINTYRE: The first house I lived in was in a very rural area. I lived in front of a cornfield and had a barn — not with horses, but often with raccoons! Growing up, I spent most of my days running through the cornfields, playing kick the can with neighbors, playing with wildlife in the streams, and visiting my neighbors’ houses. My neighbors were quite quirky and innovative — one dad used to repurpose computers and robotics to make something new. There was a reimagined, gamified wheelchair we used to ride down the street and lots of other inventions. The energy of innovation was present in my early years. When I was around ten, my family moved to an all-wooded area where I couldn’t even see my neighbors. My sisters and I really tapped into our creativity at this stage: my older sister played various instruments (piano, guitar), my younger sister wrote award-winning poetry, fiction, and novels, and I would draw, paint, and sculpt. In some ways, we were the modern-day Brontë sisters in this isolated world among the trees, which took a certain level of dedication. I’d often drag my large canvases along the sides of highways, walking miles by myself to the nearest bus stop to get to my art classes. My art teacher would joke about my frostbitten face as I walked through the doors in the winter months, saying he felt my dedication was rare. There was a beauty and stillness to this time, but also isolation. My parents later divorced, which marked the beginning of a stage where I had no defined home and, in some ways, felt the weight of figuring everything out on my own. The most formative relationship of my childhood was with my Nana, who visited often. She was a florist and brought an incredible amount of sunshine and joy into my life. She understood me on a deeper level than most people and was my biggest fan and supporter. Losing her was an incredible challenge, but she remains a huge source of inspiration in my work: any flower in a piece represents my soul and life history wrapped into my art.
KK: My grandmother Lydia, a very influential female figure in my life, passed away when I was six, but a symbol of a flower is something I’ve been using in my work since I was a kid, and it definitely stems from the relationship she had with the flowers. Gardening was her passion — she’d never allow anyone to cut the flowers because she wanted to keep them alive. The idea of recognizing and appreciating beauty without ownership or consumption is something I really took in as a kid, and this philosophy stayed with me to this day. Unconditional love, respect, acceptance, empowerment, validation all contribute to our self-confidence as women. What was your self-confidence journey like and what part female role models played in it?
KM: Confidence is an interesting thing. Having a Virgo Moon, I’m very self-critical, almost a perfectionist at times. Whenever a woman’s confidence is questioned, I often feel that it stems from societal conditioning that makes it seem unearned or performative – that’s not something men experience as often. People assume their confidence is earned. The way I present myself is based on my years of experience, my technical abilities, and my body of work, and I suppose that translates as confidence. Both of my grandmothers have been central female influences in my life. Besides being a florist, Nana was a skilled businesswoman, she was filled with light even in dark times, incredibly talented and creative, and there’s something almost mystical about how connected I am to her. People say we have the exact same hands and look alike, and after she passed, I discovered a painting of hers that literally looked like something I would create — the strokes, the colors. My whole family thought it was mine until we saw her signature. It made me emotional, like we were one artistic soul, and my talent came directly from her. I also found a book full of her creative inventions, fashion, and unique ideas. In some ways, I feel I am living out what her potential could have been if she had my opportunities. She didn’t have an easy start to life growing up in an orphan’s convent, often targeted for her beauty by cruel nuns who wanted to humble her, yet she maintained confidence despite everything. She used to say, “Aren’t I great?” and giggle, as if willing her own confidence into existence. Over time, I realized that this self-affirmation was a form of resilience — an acknowledgment of her worth even when the world refused to recognize it. This lesson deeply influenced me, teaching me to embrace my achievements unapologetically and instilling a sense of self-worth that I carry into my work and life. Only later I realized she said these things because no one else had ever said them to her, and I try to emulate that level of self-love. The only time I distinctly remember her angry, when she got really upset with me, was when I cried over a boy as a teenager – she wanted me to know my worth. Since losing her, this memory has allowed me to survive any breakup. My other grandmother Katherine, still alive at 102 years old, is one of the most meaningful influences in my life. She is a WWII Air Force veteran, a world traveler, incredibly bright person, with a sharp, critical mind. She experienced a divorce at a time when it was socially unacceptable and went on to raise six children alone. She was one of the only women who worked on Bay Street (Canada’s Wall Street) and later became a travel writer, supporting women in developing countries like Guatemala and First Nations communities.
KK: Is there any specific memory about her that made you realize how special she was?
KM: One of my most formative childhood memories is walking up her staircase, which was filled with photographs from her travels across Asia, Russia, and beyond. It told the story of a woman who refused to let setbacks dictate the quality of her life. Because of her, I’ve always loved to travel. At 17, I moved to Switzerland to live with a Swiss family for a year and explore. Watching her navigate the world with such resilience inspired me to take risks in my career, whether it was moving abroad at a young age, diving into the tech industry, or pushing boundaries in design. Her unwavering spirit became a foundation for my own boldness, shaping how I approach challenges and innovation today. Travel is an incredible part of a woman’s sense of self and identity — it’s important to think globally and expand beyond your horizons.
Latto Pussy single cover (2022) | Art, creative direction, 3D/VFX, typography @Katie McIntyre Studio
KK: A few years ago, you joined Apple as one of the youngest art directors in the company’s history. There are not enough words to describe the role of Steve Jobs in the tech space, and many people who were fortunate enough to work with him in the past accelerated their careers in tech and design. There’s even a term for that — The Steve Jobs Effect. Apple’s value depended on a single person, a visionary who made everyone in the company believe that everything you can imagine is real, to quote Picasso. Today, you’re a founder yourself, a visionary who inspires the next generation of creatives to rise above limitations. If you wanna go fast, go alone, but if you wanna go far, go together. Who were the people who supported you on the journey towards a visionary you are today? What are the core principles of your ethos and philosophy as a female leader in tech?
KM: I truly believe that having a female figurehead in design and technology who reaches the level of a Steve Jobs is just as important as having a female president. Both roles play a crucial part in shaping the future and breaking barriers for women in different spheres of influence. Technological power and figureheads are shifting political landscapes at a rapid rate. On a deep soul level, I feel the unique burden of knowing that I am the person meant to break that particular glass ceiling. Today, my greatest challenge is getting people to REALLY see me for who I am and my power, not what they imagine someone like me is capable of. Things I’m reaching for, in many ways, challenge the traditional structures of power and disrupts deeply ingrained norms because women aren’t supposed to enter the realm of technological demigods — we are expected to remain well beneath the surface, acting as invisible support. Since womanhood is central to my technological vision, there’s no escaping the feminine aspect of the vision, no escaping seeing the creator (me) in the work, which is intentional. I want young women globally to innovate in ways previously unimaginable. I want those who have not been seen for their gifts to see themselves in me and have the courage to strive forward — to invent, to manifest better realities than the ones they were dealt. Call it optimism, call it faith, but I truly believe that innovation can solve anything, even the dark side of the patriarchy on this planet. In many ways, MATRIARCH, is a symbol of hope: it represents the outlier who thinks beyond the norms of the current regime of control, the individual who rebels against the controlling matrix, the grid of patriarchy. That said, I’ve been fortunate to have incredible male mentors and supporters who have shaped me. First was my childhood Russian art teacher Sergey Malina, my first maestro, who helped me understand how to build complex artistic visions and taught me the value of technique, craft, and art history. Then there was Joe Perez, who discovered me at RISD, who taught me not only how to craft things magically through the computer, but also how to create cultural moments. Creating a cultural moment is an art form in itself, which requires an understanding of visual culture, historical references, the current landscape, and the ability to converge these elements into a viral phenomenon. Joe was introduced to me by the late, great Virgil Abloh before his passing and has remained a collaborator and friend for years.
KK: This ability to attack a project holistically is definitely at the core of his value as a designer and creative director. He’s always been very supportive of young talent, and the same thing goes for Virgil. Everyone understands the power of knowledge, but very few understand the power of passing that knowledge to the next generation. Bringing Joe’s expertise to OFFF festival this year is what excites me not only as an interviewer, but also as a friend.
KM: Joe was the first person to open real doors for me, and I am deeply grateful to him. He’s an incredibly special and humble person and deserves even more acknowledgment than he’s already received. He always understood the complexity of my mind and vision, even when others didn’t. Both Sergey and Joe saw my value for what it was, independent of my feminism. Mike Grandinetti and Mike Pell have also been incredibly supportive, with Mike Grandinetti opening key doors for me in lecturing and global stages, such as bringing me into his post-grad classes at Harvard. Mike Pell (inventor of Adobe Acrobat and leader of the Microsoft Garage) has introduced me to powerful people in the tech and gaming space, constantly reaffirming my value in meaningful ways. Cathy Hackl has also been a huge inspiration to me as a powerhouse woman in tech. She has given me an incredible platform by letting me speak on her podcast, Tech Magic, and writing about me in Forbes.
KK: When I listened to your podcast with Cathy, I remember thinking how refreshing it is to see female leaders appreciating and supporting each other, which is not always the case. With feminine futurism, you’ve created not just a concept, but an entire movement. Circling back to the importance of having a female president, what are the core principles of Katie McIntyre’s presidential campaign?
KM: The patriarchy often operates like a video game, particularly in design, where at every level, resistance emerges when one attempts to envision a future shaped by the feminine. Here’s an impossible system of feminine futurism within the rigid structures of patriarchal conditioning: (1) Master Multiple Technical Skills, Then Infuse Them With Purpose. At RISD, I studied industrial design, VFX, and typography, but after learning things the traditional way, I began integrating feminine expression into traditionally male-dominated spaces, drawing inspiration from pioneers such as Judy Chicago, Iris Van Herpen, Zaha Hadid, Hilma af Klint, and Georgia O’Keeffe. Sacrificing sleep for a decade and pushing myself beyond limits made me technically proficient across disciplines. Just as Apple was using art movements as the blueprint for their design principles, I’m applying the same model for MATRIARCH, but through a feminist lens; (2) Transform Pain Into Power. A key aspect of creating a feminine future is learning to be an alchemist — to take pain, betrayal, discrimination, and channel it into something transformative. I’ve turned betrayals, bullying, sexual harassment, systemic resistance and other setbacks into fuel, and many women resonate with my work because it offers them catharsis. Whenever someone doubted me, my instinct was always to respond, “Watch me”; (3) Turn Around and Lift Others Up. Movements don’t exist in isolation — they need students, mentees, and communities to thrive. I am deeply invested in mentorship, whether through lectures at Harvard, Duke, Carnegie Mellon, USC, or by personally guiding young creatives. Unlike the hyper-masculine, competitive culture that Zuckerberg and other tech figures encouraged, I have always believed in nurturing the next wave of innovators through a feminine lens; (4) Prioritize Healing and Spiritual Strength. To continue breaking boundaries, I’ve found that a strong spiritual and healing practice is essential. There are unseen forces guiding, protecting, and inspiring us, and staying connected to them is vital. I find solace in cultural healing spaces — Russian, Chinese, and Nordic saunas, for instance — where I can reset and clear negativity from my body and mind. Exercise is a fundamental part of my creative and mental endurance; (5) Draw Strength From Music. Music has always been a source of power for me, especially female rap artists; (6) Approach Innovation Across Multiple Industries. Whenever I’ve been boxed out of one industry due to patriarchal politics, I’ve gained traction in another. I approach my career like a game of creative whack-a-mole — I pop up across different fields, making my success impossible to contain. The key is to embrace the mindset of a Renaissance woman, to believe in your ability to be limitless, and to see your voice as a canvas that can expand across multiple industries, shaping them in ways people never expected.
Lizzo Virtual Artwork (2022) | Creative direction, modeling, 3D/VFX @Katie McIntyre Studio
KK: Historically, feminine expression into traditionally male-dominated spaces have often been compromised: they would be misrepresented, not given enough credit, or deprived of visibility. Camille Claudel and Ray Eames are the names that come to mind, but there are more female artists whose lives were impacted by the partiarchal conditioning. What were the biggest challenges you had to overcome within the existing paradigm?
KM: Bias has been a persistent challenge. My success has, in some cases, caused people to form opposition against me, with their bias as the foundation of their disbelief in my power and abilities. It was quite shocking for me to experience both in school and while working in tech. I have a distinct memory of winning a critical technology trade show competition when I was 14. We had to invent a new product and, in front of national investors, secure the highest amount of investment and support to win. At the end, the top three teams had to present on stage. It was a year-long project that I won by a landslide. One of my most distinct childhood memories is standing on stage, accepting the award from the academy principal, while hearing the chorus of boos from the boys in my class. It was embarrassing, but it was clear that my win disturbed their egos and sense of patriarchal order. Winning and the consequences that come with it isn’t something I’m afraid of, and I’m still glad that I won. After working at Apple, I had a turning point where I almost started to enjoy the hate that comes with a win, as if it was a benchmark of its value. If my creative campaign went viral and received a significant amount of backlash, I took it as a sign that my work was making an impact. Perhaps that’s my anti-hero side — one that has leaned into the hate, making it a futile weapon against me. I do hope that, over time, men evolve beyond the hive-mind patriarchal mindset that makes them resist seeing women surpass them. Some have, but many still need to evolve desperately. They are holding society back for no good reason other than fear of losing control.
KK: One of the things that I find especially challenging in navigating the business/tech world is the fact that it’s really hard to get a seat at the table in a male-dominated industry, and some of these tables aren’t even conference room tables as we all know that many of the strategic discussions are still happening in restaurants, within a so-called men’s club. The subtle passive ways women are kept down is something many females in the industry are facing on a daily basis. What advice would you give to them and what is your philosophy when it comes to working through gatekeeping?
KM: Gatekeeping is something I’ve encountered so frequently that I almost expect it. At times, I have had to kick down doors and gained enemies in doing so. This approach can create resistance, but it has been necessary to break barriers. In my long-term approach, I ensure that as I progress, I help dismantle toxic patriarchal structures where I can. For instance, while working in tech, I faced severe retaliation from a junior colleague with significant connections in the company. After I rejected his sexual advances and harassment and outperformed him professionally, he orchestrated efforts to isolate and discredit me, enlisting others to push me out of projects and undermine my contributions. It was a punishment for saying “NO” that was felt throughout my entire career at that point. His position wasn’t based on merit, but rather on family connections and privilege. When I was harassed by him, I was targeted and silenced by the institution that enabled him — I was told directly that female empowerment was not a brand value of the company. They knew I was more skilled, talented and valuable, but his privilege and the patriarchy enabled and empowered his gross behaviour and mediocrity. It was a formative part of my career and I’ll never forget it.
KK: I’m sorry you had to go through this, but when something like that happens, something that reveals the ugly face of patriarchy, it can act as a fuel to aim higher and fight harder. Even though it hurts really bad in the moment, it can turn into a pivotal experience in retrospect.
KM: This experience was an incredible fuel for my rise in tech. I am aware that some individuals attempted to suppress my success, expecting their actions to remain undisclosed. As my recognition grows, past injustices like that will inevitably come to light. Justice unfolds gradually over time. Through my work and influence, my story has reached a global audience. A significant challenge for women in male-dominated industries is the reluctance to unify, often due to deeply ingrained societal conditioning. Women often hesitate to unify due to the risk of isolation or backlash, and they are not wrong. I’ve experienced it and still do, but it gave me a very pure message over time. I have consistently worked with other powerful women and made huge impacts this way. A lot of the time this meant being humble, approaching other women with deep love, respect and skill, having their shine become my shine. My main motivation is progress for others, not just myself. One of the most common gatekeeping tactics is the phrase “We will reach out when we have the right project.” There’s a tendency I’ve noticed — primarily among men, but occasionally women — to pigeonhole my work. My philosophy is versatile and can be applied across all industries, whether in car commercials, VFX styling, fashion, environments, or narratives. This tendency often stems from reluctance to embrace a feminine perspective as universal, or a desire to steer creative direction toward conventional patriarchal narratives.
Dakini Model 1 concept (2022) | Car design, 3D environment, VFX @Katie McIntyre Studio
KK: Last year has been very fruitful for you, considering all the work you’ve done across fashion, music, film, industrial and automotive design, followed by Katie McIntyre x Bebe Rexha visual experience for Coachella and the recent Forbes feature. What moments of 2024 were the most emotional for you and what kind of foundation do you think this year's work created for your future aspirations?
KM: Many important moments happened this year. I really enjoyed working with Arrad, another star ally for women, on VFX, music videos, and the whole Shenseea Grammy-nominated album campaign. Seeing Jimmy Fallon holding my album cover with the couture design I made with my custom Grasshopper and ZBrush scripts was insane. This couture piece inspired me to be honoured as a next generation talent at the Canadian Art & Fashion Awards. Coachella was a dream in a lot of ways, and the visuals displayed on an 80-feet stage made a strong impact on the audience. The performance experience inspired me a lot, and I definitely plan on introducing my new technology/cars on stages and in performative ways in the future. It was also a glass ceiling, I was one of the youngest women hired to do those large-scale main stage coachella CGI visuals. It was a powerful experience, and I still almost can’t believe it was real. Going to the St. Gallen Symposium was my top moment. Back in the day, I went to high school in Switzerland for a year, and returning back was a beautiful feeling. This symposium was special because it had a group of really smart, innovative, and socially conscious young entrepreneurs from all over the world. It was a gathering of the world leaders, presidents of nations, CEOs of major companies, and there I was, in a tailored suit, blonde hair, with a vital feminine influence that’s earned me a spot as a leader of tomorrow on that world stage.
KK: How did it feel being surrounded by some of the most influential people on the planet?
KM: In the past, my work was politicized in corporate environments. In the music industry, some struggled to understand my innovative and technological nature, but in this space I was my complete self, in my complete power. I was invited to speak, to use my voice, and it was lifted and seen as a vision of the future, unlike the environments that tried to silence me. Being surrounded by likeminded innovators, geniuses, and young people who had innovated far ahead of their years, really instilled in me a sense of global community. It was also powerful to experience the stories from women around the globe, their struggles, and recognize how important and useful my work and MATRIARCH company is and will be. I was able to read the full global picture.
Shenseea Never Gets Late Here album cover (2024) | Creative direction, couture design, typography, VFX @Katie McIntyre Studio
KK: On that note, let’s talk about the new design of katiemcintyre.co and all the innovation-driven thought process behind it.
KM: Launching my website was huge. It was a massive project, it had a team of two, me and the developer. I was the UI designer in Figma, the 3D Artist, the Unreal Engine VFX supervisor, the visionary, the typographer, the architect of this feminine future world. It was a huge manifestation, a labour of love, and releasing that was a big moment of joy. The homepage was drawn out seven years ago, when I was 20 years old and working in tech. I am meticulous when it comes to mouse interactions, subtle glows, and the tricks that create a shadowy light over the sculptural typography, while evoking the feeling of being at a museum at night. This kind of figurative feminine typography was envisioned since writing my gender studies thesis at Brown University on the history of typography and the patriarchal systems embedded within it. This is a digital renaissance of the feminine future.
KK: The interface has many interesting transitions and mouse interactions. I remember you’ve even shown it to your grandma Katherine, and I’m sure her reaction was interesting for you to observe.
KM: I loved showing it to my grandmother. She is a great test subject because she is always honest, even if her critiques can be blunt. What shocked me the most is that she almost had an addictive reaction to the experience — she kept asking me to replay certain animations and show her different pages of the website. She was truly fascinated. Despite being futuristic, the work seemed to transcend generations, considering it captivated someone who is 102 years old. My connection to figurative art and passion for crafting powerful visuals resonates with people regardless of their age, gender, or race.
KK: You’ve worked with Nicki Minaj, Cardi B, Lizzo, and many other powerhouse female artists. What have you learned from tapping into their philosophy and mental space?
KM: Nicki took a deeply historical approach to the Queen cover, drawing heavily on goddess energy. I designed this logo when I was at RISD, and it was a pivotal thing in shaping my imagination and realizing how undiscovered this world of goddess design was. It felt like uncovering lost knowledge — dusting off books that had been buried for thousands of years and wondering, why hasn’t this been seen in pop culture before? The cover was a success, and Nicki even used my logo for her radio show, which went viral and became a phenomenon. Drawing from her lineage in India and Africa was deeply spiritual, and I completely understand why she embraced this approach. Cardi and Lizzo both came to me with an understanding of my feminine futurism philosophy, so they tapped into this approach to amplify their power and artistry. Lizzo granted me complete creative freedom, which allowed me to embrace a surrealistic approach without constraints. By removing guard rails, she let me be creative and got my best self, and that’s how the masterpiece was born. What I learned from all these women is that they are all brilliant, talented, and inspiring, and that we were meant to collaborate because I served as an energetic match for their artistic visions.
Wild Side Normani x Cardi B single cover (2021) | Creative direction, design, typography, modeling, 3D/VFX @Katie McIntyre Studio
KK: One of your most viral cover designs is for Wild Side by Normani and Cardi B, and I think it accompanies the video directed by Tanu Muino really well. I’ve been following her work since the start of her career in Ukraine, and it’s amazing to witness her collaborations with Dua Lipa, Rosalía, Lizzo, Doja Cat, and other female artists. She works with male artists as well, from Foals to Harry Styles to Lenny Kravitz, but there’s a certain quality in her work, a unique feminine perspective, that I think really amplifies female energy.
KM: For Wild Side, a VFX house of about 100 male specialists were initially hired to create Pixar-level hair and world-building. However, their approach was too patriarchal, rigid, and failed to capture the vision and nuance of the feminine expression. This project was very exhausting because I was given only five days and almost passed out due to the lack of sleep, but I successfully completed the project within the timeframe. This experience reaffirmed the necessity of combining intuitive feminine perspectives with technological expertise to bring creative visions to life.
KK: For many centuries, humankind has been witnessing men using their power, and we continue witnessing the effects of patriarchy on our social order. As a female leader, do you believe in soft power?
KM: This is an interesting one. I think being a gentle giant is an important way of being. Virgil Aboh was a great male example of a powerhouse who opened doors, championed youth, had a welcoming persona and was accessible. Some men embody a nurturing, almost matriarchal power perspective, and that is important. As much as I teach women to rest, to be in their zen, to move past the patriarchal holds, I also think that the model for Matriarchal power in the goddesses. They were giving, soulful, healing, but also mighty, and weld incredible strength. They were warriors who would fight for what is right with an incredible amount of power. Today, it’s incredibly important to be motivated by peace, but one should not be passive when that peace is threatened. While peace is essential, passivity in the face of oppression can be dangerous.
KK: What does it mean to be a MATRIARCH today, in 2025?
KM: Being a MATRIARCH today means innovating with purpose — amplifying unheard voices, dismantling barriers, and contributing to a more sustainable and equitable world, while standing your ground and protecting those who need it. It’s about breaking the matrix with new solutions, healing the audience while empowering the unseen, being unapologetically yourself, and embracing the full spectrum of your femininity, no matter your gender identity.
KK: Amen.
