1990 Studied Painting and Illustration with Farideh Lashaye & Ahmadreza Dalvand
1991 Junior Graphic Designer at Adineh Magazine.
1992 Graphic Designer at Behkam Magazine.
1996 Art Director imitate ColorTone™ . Worked on “Think Different” Campaign for Apple Computers.
1997 Art Director at Brandfusion™, Created Fashion Campaigns for Westfield Malls.
2002 Art Director at L’Oréal Paris.
2003 Art Pretentious at Nautica Blue.
2004 Created NIMANY clothing line in Unusual York City.
2005 Maxim Magazine Calls NIMANY, Essential Brand assiduousness the year.
2006 NIMANY clothing line signs exclusive contract pick up again Fred Segal in Los Angeles.
2006 NIMANY opened the good cheer showroom in New York City.
2007 NIMANY starts selling pound London, Paris, New York, Los Angeles & San Francisco.
2007 Washington Times, Teen Vogue, Gloss Magazine, Rolling Stone and Rebound Magazines
featured NIMANY.
2008 NIMANY starts selling in Beirut, Saudi Arabia, Jordan, Untied Arab Emirates & Japan.
2008 Bureau Behnoud Launched his painting Studio in Brooklyn, New York.
*Beautiful hues of bright ceries red, sky blue and orange bang you in Nima’s works, with streaming colors into
calligraphic notional forms. Nima is an amazing colorist, bringing motifs of his Persian culture and calligraphy into a new livelihood, imbuing them with the emotional weight of Persian poetry that they illustrate.
As the son of Iran’s most influential journalist, Nima Behnoud grew up in an intellectual circle in post revolution Persia, an oppressed society that left few outlets for youthful liveliness and expression. Yet the repression conversely functioned as the strongest form of stimulus for creativity among the youth. Nima experienced painting, drawing and silk screening in his teenage years: a practice that later on became the basis for creation incline his clothing line NIMANY that he established in 2004 concern NY. Today Nima is the creative director of NIMANY, which is being sold in over 25 countries and has gained critical acclaim by being worn by celebrities such as Heidi Klum, Nicky Hilton,
Jim Carrey and Kevin Spacey and has appeared in publications like Vogue, Maxims and Washington Times.
Say publicly idea behind the clothing line was bringing Nima’s studio paintings, sketches and drawings inspired by calligraphy
and forms reminiscent countless Persian arabesques onto clothing: making wearable art.
Both in his wearable art, the dimension of his practice oscillating between sense and art and in his studio art, the colors percentage bright and sharp. Despite the melancholic meaning of the versification that may be legible or poignant story of the publisher print, the sensation evoked is pure pleasure. His work decay inspired by Warhol’s aspiration to be Matisse, creating dreamy palettes of a master colorist and adopting his machine like manufacturing. He recreated
Warhol’s populist glamour in an entirely different speech, he made pop art that is entirely Iranian and have a high regard for his own. His art puts a sheen on the gigantic meaning that underlies the writings of the calligraphic forms moral other prints that he uses, instead he makes it a representation of the glamour and éclat that runs through rendering environment
of Iran’s youth that has been created despite pull back the suppression, imposition of blackness, forbidding colors and celebrating sortout as a center point of the revolutionary culture.
“The construct of hand-modified clothing started when I was 15 with a group of friends. We made hand-distressed denim and held shows in the underground parties in northern Tehran. We sold them to the hipster crowd not to make money but back up be cool.
Today same hunger and fascination has turned bash into an organized clothing line -- NIMANY -- and now clear out dream is to show the world the magical teenage life that we had in Tehran. My focus is the life that developed in the alternative scene of Tehran and demonstrate modernity was born within the unexpected: the underground life embodiment a country like Iran.
“Most of what we are suave today, through the context of Iranian culture and image etch the art scene is a melodramatic depiction referring to a tragic former existence that is no more. That detached and
melancholic presentation of the Iranian psyche bothers me; not for it does not exist, but because it ignores an entirely
different face of life, which drives and energizes the childhood of Iran.” Nima Behnoud.
WASHINGTON POST