Working Out of the Box: Ishraq Zraikat Discusses Her Transition From Architecture to Textile Design and Material Development

The article presents an interview between Joy Moyler and Esha Ahmed, focusing on Ahmed’s journey into textile design and the philosophy behind her brand, Makrosha. Esha Ahmed, born in Bangladesh and raised in New York, recounts her early introduction to textiles through her mother’s extensive sari collection in Jackson Heights. These early experiences, including playfully repurposing saris into costumes, sparked her interest in fabrics and fashion. Ahmed's formal education at the Fashion Institute of Technology, where she studied fashion design and later costume preservation and textiles for her master’s, further solidified her passion. Her initial career involved managing designer Peter Marino's extensive textile collection, an experience that broadened her understanding of textiles within interior design, covering commercial, residential, and hospitality projects. This role provided insight into both the creation and application of textiles, exposing her to numerous vendors and artisans. Following her tenure with Marino, Ahmed launched Makrosha, a business specializing in fabric, rugs, and throw pillows. A core mission for Makrosha is to preserve and support vanishing traditional weaving arts globally, ensuring the survival of high-quality, handcrafted textiles. Ahmed collaborates with weavers worldwide, each contributing unique methods and aesthetics to her designs. She also partners with designers for custom textiles and represents Aïssa Dione Tissus, a Senegalese master weaver known for handwoven fabrics. Ahmed draws inspiration from historical fashion design, particularly medieval styles, and shares an affinity for late 18th-century Europe and medieval Spain, periods known for their ornate, colorful, and detailed designs that resulted from cultural fusions. She acknowledges the historical influence of the fashion industry on luxury home textiles, observing how trends from designers like Dries Van Noten often translate into the home market. However, Ahmed expresses concerns about the modern culture of disposability and emphasizes the importance of sustainability and longevity in design. She advocates for investing in high-quality items, such as hand-knotted rugs that can take months to create, intending for them to last generations rather than being treated as disposable goods. Her design process involves starting with inspirations from her antique collection, developing renderings with mills, and collaborating closely with individual makers across different cultures, such as those in Laos, Nepal, and England, to ensure the essence of craftsmanship is maintained. Ahmed stresses that true quality and craftsmanship come from this collaborative, hands-on approach. The conversation highlights the critical need to protect traditional weaving practices from extinction due to increasing mechanization, underscoring Makrosha's role in keeping these artisanal skills alive. #TextileDesign #GlobalWeaving #EshaAhmed #Makrosha #InteriorDesign #SustainableDesign #ArtisanalCraftsmanship #FashionHistory #HomeDecor

This article celebrates Suzanne Tick's induction into the Interior Design Hall of Fame, highlighting her multifaceted career as a material innovator, textile designer, and artist. Tick's work is characterized by a forward-thinking approach, integrating sustainability, advanced technologies like 3D knitting, and concepts of transparency and digitalism into woven surfaces for commercial interiors. Her textile brand, Luum, for instance, launched its 'Fabric of Space' collection with patterns inspired by celestial phenomena, coincidentally aligning with the public release of images from the James Webb Space Telescope. Throughout her four-decade career, Tick has collaborated with prominent brands such as Tarkett, Tandus Centiva, 3form, and Skyline Design, creating a diverse range of products including upholstery, drapery fabrics, high-performance carpeting, broadloom, cement-tile, LVT flooring, and etched glass panels. Beyond her commercial endeavors, she maintains an active fine-art practice, producing tapestries and experimental handweavings for clients like the Gates Foundation and BlackRock. Before establishing her independent studio and Luum, Tick served as an in-house design lead for Knoll Textiles, Unika Vaev, and Brickel Associates. However, she values the autonomy and risk-taking opportunities afforded by her entrepreneurial path. This independence has enabled her to innovate, as seen in Luum's pioneering contract industry fabrics made from postconsumer-recycled biodegradable polyester and discarded garment waste. Her journey began in the early 1980s after earning textile design degrees, where she quickly sought to understand the entire production process, learning everything from fiber sourcing to pattern implementation, an experience that shaped her holistic approach. Sustainability has been a cornerstone of Tick's philosophy, encompassing raw material development, structural innovation, and manufacturing method revitalization. At Luum, the focus is on developing new fibers and constructions, resulting in distinct fabrics. Her handweavings also incorporate novel and salvaged materials, such as dry-cleaning hangers, shredded ledgers, and cut-up paint sample discards. Tick attributes her salvage mindset to her upbringing, influenced by her father's scrap-metal business and her mother's creative pursuits and Eastern philosophy interests. Meditation has also profoundly influenced Tick's creative process and studio culture. After a period of personal dissatisfaction, she embraced Vedic meditation seven years ago and now teaches it, crediting it with enhancing collective creativity and clarity within her design teams. This practice has also reinforced her commitment to social responsibility, leading to free weaving workshops and involvement with The Light Inside, an organization teaching meditation to prison inmates. Tick's dedication extends to environmental stewardship, evidenced by her role in creating Resolution, the first solution-dyed panel fabric for Knoll Textiles, and her studio's textile waste recycling efforts. Her work consistently pushes boundaries, merging technology, craft, and human ingenuity to promote circularity in design. #SuzanneTick #InteriorDesignHallOfFame #TextileDesign #MaterialInnovation #Sustainability #LuumTextiles #KnollTextiles #SkylineDesign #VedicMeditation #ArtInstallation

In an increasingly commoditized market flooded with generic products, establishing a unique brand identity and achieving customer recognition is paramount for designers. Textile designer Beatrice Larkin has successfully cultivated a signature style in her woven textiles, accessories, and interior products, making her designs instantly recognizable through their distinctive blurred edges and broken geometrics. Her creative process begins with hand-drawn sketches, where the initial marks, intricate patterns, and blotches made with pen and ink are deliberately preserved and celebrated in the finished fabric. This artistic approach ensures a consistent aesthetic across all her woven creations. The production of Larkin's textiles involves a collaborative effort with skilled manufacturers in the north of England. She works with a Jacquard mill in Lancashire to produce small runs of her woven designs, which are then washed and finished in the Yorkshire Dales. The process begins in her Margate studio, where she engages in extensive mark-making with inks, envisioning the final product's scale and application. These initial designs are then refined using Photoshop to determine fabric repeats and optimal sizing. Currently, her collection features two primary materials: fine Merino wool, typically used for throws, cushions, and accessories, and recycled cotton, a more robust option suitable for cushions, upholstery, and curtains. The Merino wool, known for its softness, is sourced from spinners in Italy. Similarly, the recycled cotton collection utilizes rejected fabrics from the clothing industry, which are re-spun and repurposed, also originating from Italian spinners. These yarns are then sent to the Lancashire mill for weaving, brushing, and washing before being returned to Larkin. The final products are then sewn either in her studio or by local Margate makers, though fabric is also available for purchase by the meter. This meticulous production chain underscores her commitment to quality and sustainable practices. Beatrice Larkin's entrepreneurial journey recently received significant recognition with the Start Up Award as part of the Women’s Launch Lab Incubator 2024. As one of ten female entrepreneurs selected from hundreds of applicants, she participated in an intensive three-day program. This program provided access to expertise from innovative female entrepreneurs, growth and marketing strategists, and public-speaking coaches. The experience culminated in pitching her business to venture capitalists and angel investors, including notable figures such as Alison Cork MBE, Akshata Murty, and Judy Naake MBE. Larkin emphasized that this experience offered valuable perspective and a significant confidence boost. Her business was founded in 2013, immediately following her Master's degree from the Royal College of Art, where her final collection garnered interest from prominent buyers like Heal’s. After graduating, she sought a British mill capable of producing her designs at scale. In 2015, Daylesford Organic provided funding for her initial fabric run, which was woven in the Cotswolds and Yorkshire. This collection was sold at Daylesford and served as a crucial launchpad for future manufacturing endeavors. By spring 2017, she began selling at Heal’s and unveiled her first collection at Clerkenwell Design Week. Larkin's immersion in the fabrics industry was a natural progression, deeply influenced by her upbringing. Her father owned Gordon Larkin Fine Wallpaper & Fabric in Canterbury, and her mother was also a textile designer, ensuring a household constantly surrounded by fabrics. Childhood memories of accompanying her father to design shows in Chelsea Harbour and exploring fabric showrooms further solidified her connection to the industry. She attributes her entrepreneurial spirit and the ability to forge her own path to observing her parents' lifestyle as business owners. Three years ago, Larkin relocated to Margate, drawn by its vibrant creative community. Since then, she has expanded her client base, with local stockists including Turner Contemporary and Harbour & Tide. Her brand, Beatrice Larkin, has also been embraced by renowned establishments such as Made, Studio Ashby, Conran and Partners, Tate Modern, and Piglet in Bed. Her journey reflects a blend of inherited passion, formal education, strategic partnerships, and a clear vision for her brand's aesthetic and ethical production. #TextileDesign #BeatriceLarkin #MargateDesign #WovenTextiles #InteriorProducts #SustainableMaterials #BritishManufacturing #Entrepreneurship #WomenInBusiness

Laura Kirar, an internationally acclaimed American-born, Mexico-based interior and product designer, shares insights into her unique style, diverse inspirations, and creative process. Her design philosophy emphasizes the combination of raw materials with her deep understanding of art, architecture, fashion, and music. Kirar’s early influences stem from her upbringing in Chicago, where she was exposed to significant art and architectural collections, including works by Daniel Burnham, Louis Sullivan, Mies van der Rohe, Frank Lloyd Wright, Brancusi, Georgia O’Keeffe, René Magritte, and Salvador Dalí. These foundational experiences shaped her perspective, leading her to view furniture as sculptural objects and spaces as canvases for human experience. Kirar's passion for both art and architecture guided her career choice. She describes her approach as abstract, knowing when to adhere to design principles and when to innovate. The ability to create environments where lives unfold is a powerful motivator for her. Her current inspirations include contemporary artists, fashion designers, and musicians such as Peter Zumthor, David Wiseman, Milena Muzquiz, Monica Rezman, and Marcela Diaz. She expresses a particular fondness for coral pink in all its hues, describing it as luminous and soothing, suitable for various applications from walls to textiles. Travel plays a significant role in Kirar's inspiration, leading her to discover unique shops worldwide. In Mexico City, she frequents Trouve for vintage items. New York offers Les Atelier Courbet, The Future Perfect, and Artemest. In London, she highlights The Carpenters Workshop Gallery at Ladbroke Hall, and in Paris, Pierre Frey for textiles, along with various antique and vintage markets like Marche Biron. Mexico itself is a profound source of inspiration, influencing her sense of color, scale, and textures, and fostering her appreciation for traditional crafts found in its mountains, valleys, and cities like Oaxaca and the Yucatan. Kirar is also a passionate collector, believing that artists benefit from surrounding themselves with inspiring objects. Her collections include vintage chairs, ceramics, pottery, art books, hand-woven textiles, vintage cowboy boots, and silver Navajo accessories, all chosen for their stories. She recently acquired her fourth art piece by Cisco Jimenez, suggesting a new collection in the making. Her personal art collection includes a Cindy Sherman photograph, which has inspired the palette for an entire room. Beyond visual arts, Kirar finds inspiration in film, particularly through MUBI, enjoying classic films, film noir, thrillers, and sci-fi. She also has eclectic musical tastes, ranging from The Cure to opera, classical, rock, punk, and jazz, appreciating the intimacy of live performances. Among her extensive product designs, which number over a thousand, she favors the Mar floor lamp and Vargueno chair from her collection with Arteriors. Her Vir Stil and Paletta bath collections for Kallista have been bestsellers for two decades, and her Caviar chandelier for Arteriors has consistently topped its bestseller list since 2010. Kirar also enjoys cooking, drawing on her Italian heritage to create dishes like pici al limone with sautéed radicchio. She also puts a contemporary spin on traditional Mexican chiles rellenos. Her philosophy is that cooking can be spontaneous and creative, often improvising with available ingredients. This reflects her broader approach to design and life – a blend of diverse influences, personal passion, and creative adaptation. #InteriorDesign #ProductDesign #LauraKirar #CreativeProcess #ArchitecturalInfluence #ArtInspiration #MexicanCrafts #DesignPhilosophy #GlobalTravel

The project "Knowing the Ropes," initiated by designers Brynhildur Pálsdóttir, Þuriður Rós Sigurþórsdóttir, and Theresa Himmer, delves into the ubiquitous nature and varied applications of rope, challenging conventional perceptions of this utilitarian material. This artistic endeavor explores the cultural and structural significance of rope within a Scandinavian context, specifically focusing on its dual existence in interior design and maritime industries. The designers utilize two historical production facilities, Hampiðjan in Reykjavík, Iceland, and Aarhus Possementfabrik in Denmark, both established in the early 20th century and employing similar machinery. These facilities represent the divergent paths of rope production: one for marine use and the other for interior textiles. The core of the project lies in highlighting the unexpected aesthetic and functional intersections that arise when examining a material with such diverse applications. The genesis of "Knowing the Ropes" dates back to 2017. Over time, the project evolved from its initial conceptualization into a comprehensive body of work, culminating in a publication and an exhibition featuring objects and video installations. The initial exhibition was held at the Reykjavík Art Museum in 2021, showcasing the designers' innovative interpretations and creations. The artists further developed their project by presenting an evolved version at the Hallwyl Museum in Stockholm. This particular venue, a meticulously preserved Victorian home from the turn of the 20th century, provided a unique juxtaposition for the contemporary design pieces. The museum's ornate and traditional environment offered a striking contrast to the modern and unconventional objects crafted from rope, creating an unexpectedly modern aesthetic within a historical setting. The exhibition features a range of objects that reimagine the use of rope in everyday items and art installations. These pieces include floor lamps with rope-wrapped bodies and exposed light bulbs, demonstrating how rope can be integrated into lighting design to create a distinctive texture and form. Pedestals made entirely from rope showcase the material's structural capabilities and its potential as a sculptural element. A standing round mirror, framed and supported by intricate rope work, highlights the material's versatility in creating decorative and functional home furnishings. A modern three-legged table also utilizes rope in its construction, presenting it as a primary material rather than a mere accent. Additionally, arch-shaped shelving units, crafted with rope netting, illustrate innovative approaches to storage and display. Through these creations, Pálsdóttir, Sigurþórsdóttir, and Himmer prompt viewers to reconsider the inherent qualities of rope and its potential for artistic and design expression. The project not only celebrates the craftsmanship and heritage associated with rope making but also pushes the boundaries of how textiles can be perceived and utilized in contemporary design. The juxtaposition of modern designs with a historic setting further emphasizes the timeless appeal and adaptability of this fundamental material, inviting a deeper appreciation for the overlooked elements of our material world. #TextileArt #RopeDesign #ScandinavianDesign #MaterialExploration #ContemporaryArt #ExhibitionDesign #InteriorFurnishings #DesignInnovation

Léa Zana, a former fashion designer, transitioned into ceramics during the lockdown, establishing her homeware brand, Vaisselle. The brand's products are now available in department stores globally. Zana's design philosophy is characterized by an eclectic and authentic style, influenced significantly by her lifelong fascination with color and artistic expression. This interest in color dates back to her childhood, where she recalls a distinct vision for color palettes compared to her peers, a trait that continues to define her work today. Her early exposure to design came from flipping through La Redoute catalogues and designing clothes for Barbie dolls at age nine, demonstrating a nascent passion for creation. She pursued fine art before moving into fashion design, eventually working for luxury brands in Paris and then in footwear design for companies like Mellow Yellow, Zara, Topshop, and ASOS. A pivotal inspiration in her fashion career was Tom Ford's AW99 collection for Gucci, particularly its jewel-tone color palette and use of velvet, which instilled in her the importance of a coherent color scheme in design. Zana's creative inspirations are primarily drawn from nature, such as flowers, and Roman architecture. Each Vaisselle collection incorporates a floral element, and her French upbringing near Roman ruins has deeply influenced her aesthetic. The unexpected move from fashion to ceramics was prompted by a pre-Covid redundancy, which she viewed as an opportunity to pursue her long-standing passion for tableware and ceramics. This led to the creation of Vaisselle, built on principles of sustainability and fair trade. All Vaisselle products are handmade and hand-painted in Spain by local artisans, emphasizing craftsmanship and ethical production. Her personal style and inspirations extend to her home and hobbies. She spends her summers in Mallorca, admiring its antique cement tiles with their raw, matte finishes contrasting with floral designs. Zana is also a keen collector of various items, including elephant figurines from her childhood in Sri Lanka, glassware, and antique French crockery and linens, which evoke nostalgic memories of her grandmother. Literature and cinema also play a significant role in shaping her artistic vision. Françoise Sagan’s 'Bonjour Tristesse' is a favorite book, admired for its unique heroines and their pursuit of freedom. She anticipates new works by Leïla Slimani. Filmmakers Sofia Coppola and Pedro Almodóvar are major influences, particularly for their use of color palettes, artistic direction, and cultural references, with 'Lost In Translation,' 'Marie-Antoinette,' and 'All About My Mother' being notable examples. 'All About My Mother' particularly inspired her to incorporate Iberian culture into her life and art, contributing to her move to Spain before settling in London. Music is an integral part of her daily life, starting with Ethiopian jazz and moving to artists like Leonard Cohen, Bob Dylan, and Serge Gainsbourg. Hosting is a cherished activity, where she enjoys serving sparkling cocktails like Hugo spritzes and decorating her table with pieces from her St-Germain x Vaisselle Apéritif Edit and fresh flowers. French cuisine, particularly Louie in London, is a favorite. She admires glass artist Helle Mardahl and dreams of owning Chanel, reflecting her continued appreciation for high fashion and design. #LéaZana #Vaisselle #Ceramics #Homeware #FashionDesign #ArtisticInspiration #Sustainability #Handmade #InteriorDesign #EclecticStyle #ColorTheory

The article discusses the launch of Weft, an innovative online platform aiming to revolutionize the woven fabrics industry. Developed by Brooks Hagan, an associate professor of textiles at RISD, and Steve Marschner, a computer science professor at Cornell, Weft provides direct access to manufacturing for custom woven fabric orders, starting from as low as three yards. This platform distinguishes itself from surface-printed fabric providers by focusing on true woven designs, offering a unique service in the market. The project received research support from the National Science Foundation and a Small Business Innovation Research grant, highlighting its technological and entrepreneurial significance. Weft empowers users to personalize their fabric designs by allowing them to select colors, weave structures, and quality parameters, as well as define repeat sizes. This level of customization is particularly beneficial for independent designers working on smaller-scale projects, enabling them to create unique textiles without the high minimum order quantities typically associated with custom manufacturing. Users of the Weft platform have the flexibility to upload their own designs or photographs, integrating personal artistic vision into their fabric creations. Alternatively, they can customize existing designs available on the site. Beyond custom design, Weft also features a curated selection of limited-edition textile designs created by various artists. The article names Stephanie Pender, Kevin Zucker, Julia Dault, John Caserta, and Julian Kreimer as some of the collaborating artists, emphasizing the platform's commitment to artistic diversity. Hagan explains that the selection of artists from diverse fields was a deliberate choice to demonstrate the software's accessibility and utility to a wide range of creative individuals, regardless of their background. This approach aims to democratize access to custom fabric production, making it available to more designers and artists. In addition to custom orders, Weft operates an online shop offering ready-made woven jacquard fabrics. These fabrics are manufactured in the U.S. and include open-source options, further promoting customization. The versatility of these fabrics makes them suitable for various applications, including upholstery, drapery, and apparel, catering to a broad spectrum of interior design and fashion needs. Weft ensures efficiency by fulfilling custom fabric orders through its network of partner mills, boasting a quick turnaround time of as little as three weeks. This rapid production cycle is a significant advantage for designers and businesses seeking timely delivery of specialized materials. #WovenFabrics #CustomDesign #TextileIndustry #RISDInnovation #DigitalLoom #ManufacturingAccess #IndependentDesigners #ArtisticCollaboration

In 1967, fiber artist Sheila Hicks collaborated with architect Warren Platner to design two linen-and-silk wall panels for the Ford Foundation headquarters in New York City. Platner was responsible for the interiors of the 12-story modernist landmark, designed by Kevin Roche John Dinkeloo and Associates. Hicks's original wall panels, which featured rosettes threaded around metal discs, suffered significant damage over the years due to an attempted fire retardation treatment in the 1980s, the abrasion from Eames executive chairs in the conference room, and cigarette smoke in the auditorium. Recognizing the historical and artistic importance of these pieces, Ford Foundation President Darren Walker, appointed in 2013, initiated their replacement. He commissioned Hicks to recreate the murals. Hicks accepted the project without an artist's fee, underscoring her commitment to the foundation and her artwork. The re-installation took place in August 2014, with Hicks overseeing the process. This reprisal of her work for the Ford Foundation coincided with a broader resurgence of interest in Hicks's art, marked by other large-scale public commissions, including a yearlong exhibition at the Palais de Tokyo in Paris, and a general renewal of appreciation for weaving as an art form. The modern tapestry was produced in smaller, modular sections by Enrico Martignoni, the chief installer, and project leader Dominique Pastor. This modular approach was adopted to facilitate easier replacement if any section were to be damaged in the future. Crucially, the new silk-blend threads will not undergo the same caustic chemical fire-proofing treatment that damaged the original works. Additionally, the new panels are more cost-effective, utilizing a silk-blend thread and plastic discs in place of the original metal components. The article also touches upon the broader design elements of the Ford Foundation building. Warren Platner, known for his opulent modernist style, integrated bold metallics into his interiors, such as the gold-plated, floor-to-ceiling doors leading to the subterranean auditorium. The landscape designer Dan Kiley, celebrated for his work on projects like the Miller House and the St. Louis Arch, created the lush indoor urban garden within the Ford Foundation. Architects Kevin Roche and John Dinkeloo designed the headquarters with the employee in mind, reversing the traditional skyscraper layout to ensure every office had exterior views or overlooked the indoor park within the ten-story glass atrium. Skylights at the top of the atrium, framed in Cor-Ten steel, allow natural daylight to flood the space. Even the executive chairs, modified by Charles and Ray Eames, featured brown leather upholstery and brass accents to complement Platner's design, and notably, still included pull-out ashtrays. #SheilaHicks #FordFoundation #TextileArt #ModernistDesign #InteriorDesign #ArchitecturalRenovation #ArtInstallation #WarrenPlatner #KevinRocheJohnDinkeloo

British artist Sophie Smallhorn, whose work explores the relationships between color, volume, and proportion, grew up immersed in a creative environment. Her parents were industrial and textile designers, and her Montessori education, with its use of brightly colored, precisely shaped wooden objects, fostered an early understanding of color, form, and dimension. This upbringing shaped her artistic approach, which is characterized by sophisticated geometric solids and a focus on color dynamics. Initially, Smallhorn pursued a degree in Wood, Metal, Ceramics, and Plastics at the University of Brighton, where she crafted sculptural furniture pieces that, despite their limited functionality, were primarily driven by color. She began creating assemblages from leftover materials for personal enjoyment, eventually selling them informally. Her acceptance of her work as fine art came only after a gallery explicitly presented it as sculpture, reflecting her background in design and making. Early career milestones included significant commissions from the avant-garde fashion brand Comme des Garçons, which provided opportunities for large-scale installations at its Tokyo flagship. These projects broadened her scope, leading to collaborations such as developing a 56-color palette for the London 2012 Olympic Stadium with Populous Architects, where exterior canvas banners in various hues marked spectator entrances. More recently, Smallhorn has ventured into textile design with Designtex, creating an upholstery pattern named Ribbon. This marks her first formal foray into textiles, a field her mother worked in, and one Smallhorn initially resisted due to her discomfort with digital design processes and the overwhelming possibilities of digital printing. However, a clear vision from Designtex's executive design director, Sara Balderi, during their renewed collaboration post-COVID, made the digital process manageable and even a revelation. The inspiration for the Ribbon motif originated from an enameled snuff box with an undulating ribbon, which Smallhorn encountered at the Victoria and Albert Museum. She developed the idea by physically manipulating collage and colored acetates, twisting and folding them, before translating these physical experiments into a digital layout for pattern repeat, palette, and scale. The initial design, which started smaller, evolved into a bold, graphic, and dynamic pattern with a theatrical quality, largely influenced by Designtex. The ribbon on the fabric is not solid but composed of parallel lines, a deliberate choice by Smallhorn to achieve an effect similar to screen printing, where overlapping transparent colors create a third hue, adding a playful and energizing graphic element. A solid version of this pattern, called Flat Ribbon, is available as a customizable wallcovering through Designtex’s Digital Studio website. Smallhorn notes a significant crossover between her two-dimensional prints and her three-dimensional sculptures and installations, as both involve compositions of hard-edged formal shapes. Screen printing serves as a rapid and playful method for developing ideas, allowing for serendipitous color scenarios that often inform her sculptural pieces. While her three-dimensional work does not allow for layering transparent colors, the print table mimics sketching, providing inspiration for new color combinations. She uses the same acrylic paint for both prints and assemblages, viewing the latter as vehicles for exploring and holding a palette. Smallhorn emphasizes the intuitive nature of her color decisions, often repainting pieces multiple times to achieve a desired equilibrium among what she describes as 'easy' and 'less easy' or 'awkward' and 'less awkward' colors, without relying on a predefined system. Her collaborations with brands like Comme des Garçons and COS exemplify her ability to bridge fine art and commercial design. For COS, she created window displays for five global stores, featuring large, overgrown stacks of shapes designed to complement product displays. This dual engagement with both artistic and commercial realms is a comfortable space for Smallhorn, who appreciates working with brands that share a similar sensibility toward color and design. Her career demonstrates a consistent exploration of color, form, and proportion across various mediums, continually seeking synergistic relationships in her chromatic work. #SophieSmallhorn #ArtistInterview #ColorDesign #Sculpture #TextileDesign #InteriorArt #DesigntexCollaboration #GeometricForms #CreativeProcess

This article introduces Shadé Akanbi, a Brooklyn-based freelance pattern designer and the Creative Director and Designer behind Printed Pattern People. Akanbi's design philosophy is rooted in her multicultural upbringing, which has instilled in her a passion for creating global fusion lifestyle and brands. Her work involves translating traditional ethnic patterns and textiles into contemporary interpretations suitable for everyday use. Akanbi's creative process often begins with identifying a specific motif or detail from traditional textiles. This chosen element then serves as the central inspiration, around which she constructs new patterns using fresh colors and additional details. She is prolific in her output, creating between one to six prints daily, drawing inspiration from personal collections, client ideas, or a combination of both. Akanbi is known for her collaborations with various brands, in addition to maintaining her extensive collection of global textiles. Her first major collaboration was with Anthropologie in early 2020, where her artwork was featured in an accessories and sleepwear collection. Since then, she has partnered with notable brands such as Intermix, Zuri, S'well, Chasing Paper, Netflix, and Target. Her most recent collaboration at the time of the article's publication was with Bounty Paper Towels, as part of their Inclusive Artists Project initiative. This partnership involved her artwork being featured on the Bounty Prints collection paper towels and her image appearing on the packaging, an experience she described as surreal due to the widespread nature of the household item. The article highlights Akanbi's ambition and future aspirations. As an avid traveler, she expresses a desire to collaborate with airlines and boutique hotel brands, specifically mentioning Delta, Jetblue, Kimpton, and Hyatt, envisioning these as platforms to showcase diverse art mediums. Her interest extends to athletic footwear brands like Nike, Adidas, Puma, and Vans, reflecting her passion as a sneaker collector. Furthermore, her background as a collegiate basketball player and a fan of the NBA/WNBA drives her dream to work with her favorite sports teams. Ultimately, Akanbi seeks to partner with brands with which she shares strong personal connections, aiming to utilize these collaborations as unique avenues for artistic expression. Her personal history significantly influences her artistic vision. Akanbi recounts how her upbringing, from her mother's styling choices to her father's Nigerian cooking, and her early travels, particularly her first trip to Nigeria, profoundly shaped her as an artist. These diverse experiences, encompassing sights, sounds, textures, tastes, and emotions, have cumulatively impacted her design sensibility. Her ability to blend cultural influences and her innovative approach to pattern design underscore her unique position in the design world. The article concludes by encouraging readers to explore more of Shadé Akanbi's work via her Instagram and mentions a past collaboration where she provided a Designer Desktop wallpaper for Design Milk. #PatternDesign #ShadeAkanbi #TextileArt #CulturalFusion #BrandCollaborations #ArtisticProcess #DesignInspiration #GlobalTextiles #CreativeDirector

Riddhi Jain Satija, founder of Studio Medium, a Delhi-based apparel and home textile design space, reinterprets traditional handwoven textiles using intensive resist-dyeing techniques. Her work seamlessly integrates diverse textile traditions, such as the JamBan collection, which combines Bengal’s jamdani weave with Gujarat’s bandhani tie-dye. The design process at Studio Medium is textile-driven, starting with the selection and treatment of fabrics before garment construction. The team finalizes a color palette, which artisans then use to prepare for the tie-dye process, while Satija collaborates with her design team on sample sketches, garment construction patterns, and shade cards for upcoming collections. The dyeing processes at Studio Medium involve a meticulous back-and-forth approach, with a focus on achieving precision in shibori tie-dye patterns. Artisans engage in fabric tying using techniques like Arashi shibori, also known as the pole-wrapping technique. This method involves diagonally wrapping ivory fabric around PVC poles and securing it tightly with thread, then scrunching the cloth to create accordion-like folds. The term 'Arashi,' meaning 'storm' in Japanese, reflects the diagonal patterns that resemble falling rain. After preparation, the fabric-wrapped poles are submerged in a hot water bath, followed by the addition of natural and azo-free dyes. The shade is carefully monitored, and salt is incorporated to enhance color vibrancy. Once the desired color is achieved, the poles are sun-dried to remove excess dye, revealing intricate patterns resembling leaf veins upon untying. Following the dyeing and drying processes, tailors begin garment construction. The apparel then proceeds to artisans who hand-embroider or stitch to finalize each piece. Every stage of design and production at Studio Medium emphasizes high craftsmanship, detailed work, and a strong commitment to sustainability. Once completed, garments undergo rigorous quality checks, ironing, and display. The studio integrates core upcycling ethics into its operations, striving for zero-waste patterns and innovative upcycling of by-products. For instance, threads from the bandhani technique and fabric scraps from past collections or garment construction are transformed into unique textile art. Bandhani thread clusters are meticulously arranged on fabric and then sandwiched between another layer, secured with Kantha stitching to create textiles for outerwear in the 'Re' collection, which draws inspiration from Monet’s impressionist paintings. Another initiative is the 'Bor(r)o(w)' collection, which is based on Japanese mending philosophies, specifically the Boro art form. Artisans freely arrange fabric scraps from previous collections or waste materials onto new fabric, patching, stitching, and piecing them together to preserve their beauty. Studio Medium applies various dyeing techniques to hand-woven textiles to create a range of classic silhouettes, including kaftans, capes, shirts, saris, and jackets. Riddhi Jain Satija emphasizes that design is not merely about creating new items but about observing the environment and introducing simple innovations. She also highlights the importance of respecting the comfort and expertise of weavers and dyers, aiming to design mindfully and foster an inclusive and sustainable community of practitioners to generate unique narratives and experiences. Her personal journey into tie-dye began in her mother’s workshop in Kolkata, influenced by Jaipuri bandhani and Kutch district techniques, later exploring Japanese shibori at the National Institute of Design in Ahmedabad, where her fascination with the 'circle' as a design element continues to inspire her work. #TextileDesign #ResistDyeing #StudioMedium #RiddhiJainSatija #SustainableFashion #HandwovenTextiles #Shibori #Upcycling #IndianCrafts

Micaiah Fletcher, a designer, shares insights into his career journey, professional lessons, and creative philosophy. He emphasizes the importance of balancing creative aspirations with realistic project budgets, noting a crucial lesson learned about the necessity of clear, detailed expense lists from the outset of a project. He advises against proceeding with clients who show initial hesitation regarding financial commitments, recognizing that not all clients fully grasp the investment required for high-quality design. Fletcher’s passion for design originated in his childhood on a watermelon farm in Texas, where he reconfigured his bedroom and experimented with colors from a young age. Inspired by his uncles, who were skilled in carpentry and home building, he pursued architecture at the Gerald D. Hines College of Architecture at the University of Houston. His academic experience involved extensive hand drafting, model making, and 3D rendering, along with significant challenges, including nearly failing the program twice and interning at HOK, one of the world’s largest architecture firms. After graduating, Fletcher sought a larger, more creative environment, moving to Los Angeles in 2015. He began his professional design career at Restoration Hardware before venturing into entrepreneurship in 2016. A significant career highlight included assisting in the design and creating 3D renderings for Richard Lawson and Tina Knowles Lawson. He also served as the art director for the show “Restored” on DIY, where he was responsible for selecting finishes, fixtures, and hardware. In 2020, the pandemic prompted his move to Palm Springs, a location he found to be a rich source of design inspiration due to its established design standards and history. This move reconnected him with the natural landscapes that had initially captivated him during his move to California. From 2020 to 2023, he worked remotely, gaining experience in residential construction management and occasionally teaching architecture and design software. Currently, he is designing his own home, with construction anticipated to begin in 2024, and is also involved in an exciting small theater project. Fletcher attributes his strong reputation in the market to a combination of factors, including his extensive experience since 2016 in architectural and interior design, 3D rendering, and teaching. His work for Richard and Tina Knowles Lawson significantly boosted his opportunities and reputation. His teaching profile, boasting over 50 five-star reviews, and a meticulously curated portfolio are also key contributors. He believes that a portfolio is paramount for any design business, especially when the work effectively conveys emotion and speaks for itself. His passion for design is palpable in his projects, contributing to his distinctive style and reputation. On a personal level, Fletcher emphasizes the importance of mental and physical well-being for creative success. He utilizes resources such as meditation, yoga, a balanced diet, and anxiety medication, which he credits with fostering a new state of being that allows his creativity to flourish with less self-doubt. While acknowledging that these routines may not suit everyone, he advocates for prioritizing mental and physical health as a foundational element for achieving success in any field. #MicaiahFletcher #InteriorDesign #ArchitecturalDesign #CreativeJourney #DesignEntrepreneurship #PortfolioDevelopment #MentalWellness #CareerLessons

This article highlights seven innovative design studios from across the globe, showcasing their unique approaches to architecture and design. These emerging practitioners are recognized for transcending traditional disciplinary boundaries, from product design blending technology with furniture to architectural firms challenging physical space limitations through virtual installations. Norman Kelley, based in Chicago and New York, is featured for its sly and conceptual approach, often playing with visual expectations. Their "Wrong Chairs" exhibit, for instance, exaggerated elements of the iconic Windsor chair, making them appear "wrong" yet fully functional. Principals Carrie Norman and Thomas Kelley emphasize a rigorous playfulness in their work, valuing impact and gratification over overwhelming designs. Despite being geographically separated, they maintain constant collaboration, blurring the lines between academic and professional practice. Their work extends to residential rehabs and commercial projects, such as their first retail space for Aesop in Chicago, where they utilized reclaimed common brick, and a subsequent project in New York's Tribeca district, using ombré paint to reflect the neighborhood's character. Homeowner Sam Vinz, who commissioned Norman Kelley for a residential project, praises their ability to refresh existing concepts in an accessible manner. San Francisco-based Branch Creative, led by Nick Cronan and Josh Morenstein, specializes in making technology discreet or "invisible." Their product, Plume, replaces traditional Wi-Fi routers with hexagonal pods that blend into home decor, providing efficient wireless connectivity. Both Cronan and Morenstein bring extensive industrial design experience, having worked for notable companies like fuseproject and Ammunition. They ventured into developing futuristic devices, including the modular Google Ara phone and Athos exercise clothing that provides real-time muscle activity feedback, which they refined to be seamless and intuitive. Despite their focus on technology, they are passionate about furniture design, creating pieces for Council's Drift collection that combine classic forms with subtle illusions, emphasizing longevity and sophistication. SIBLING, a young Melbourne-based firm, is recognized for its experimental and participatory approach to design. The five directors—Amelia Borg, Nicholas Braun, Jane Caught, Qianyi Lim, and Timothy Moore—engage in a wide array of projects, including exhibitions, commercial fit-outs, and residential designs. They actively initiate their own research projects, such as the ON/OFF exhibition, which explored the digital and physical worlds by creating a space that blocked smartphone reception. These conceptual investigations inform their commercial work, exemplified by the DUST retail space that integrated a digital commercial platform into a physical setting. SIBLING's freedom from established practice allows them to design a business model that is unique to their founders' processes, clients, and community. Refik Anadol, a media artist based in Los Angeles, explores the intersection of architecture and digital art. Inspired by the Walt Disney Concert Hall, Anadol created large-scale video artworks that transform architectural facades into dynamic canvases. His collaboration with Gehry Technologies and the Los Angeles Philharmonic resulted in immersive experiences like "Visions of America: Amériques," where real-time custom software projected images responsive to music and conductor movements. Anadol's work also extends to public art commissions, such as "Virtual Depictions: San Francisco" for 350 Mission, which uses Twitter data to generate animations on a large LED display, exploring how public art interacts with public data. He envisions a "post-digital architectural future" where media architecture transcends traditional screens and VR. Tropical Space, from Ho Chi Minh City, focuses on eco-friendly and avant-garde architecture that utilizes simple building materials. Founders Nguyen Hai Long and Tran Thi Ngu Ngon specialize in designing porous homes that "breathe" in tropical climates, moving away from conventional closed-off modern Vietnamese housing. Their projects, such as the Terra Cotta Studio and the two-story Termitary House, showcase innovative facades made from traditional red baked bricks, providing both graphic appeal and natural ventilation. They also design custom furniture from recycled materials, emphasizing simplicity and cost-effectiveness while fostering social interaction within living spaces. APRDELESP, a Mexico City-based architecture office, distinguishes itself through a multidisciplinary approach that integrates commercial ventures with design practice. Founders Rodrigo Escandón and Guillermo González operate a variety of "subspaces" including a restaurant, a café that doubles as a furniture showroom, an art gallery, and a print shop. This model allows them to experiment with how space is used and to circumvent traditional design practices. They view these ventures not merely as revenue streams but as experimental projects to foster new thinking and better conditions for their design work. Their unconventional approach to client engagement and public relations emphasizes dynamic interaction over formal style, resulting in a design methodology that documents the full lifespan of a project through casual snapshots and detailed drawings of everyday objects. LCLA, led by Colombian architect Luis Callejas with bases in Oslo and Medellín, integrates landscape, cartography, and botany into architecture. Callejas, who gained prominence through public competitions and his work on the Aquatic Center in Medellín, challenges conventional architectural typologies by blending natural elements with built structures. His conceptual motif of the "island" highlights the potential for unique developments within contained environments. Callejas advocates for cultivating atmospheres rather than prescriptive sequences, using evocative collages as a key representational tool. His work, like "The River That Is Not" study for the Medellín River, proposes integrated strategies for hydrologic remediation and public engagement, demonstrating a political resonance in his designs. His current projects explore topographical sites in the Andes and Norwegian mountains, applying large-scale thinking to residential jobs. #ArchitecturalInnovation #DesignStudios #ProductDesign #SustainableArchitecture #MediaArt #UrbanPlanning #InteriorDesign #ExperimentalDesign #EmergingTalent

Contemporary artist Kiki Slaughter has launched her inaugural collection of textiles and wallcoverings, translating her original painted works into designs for home interiors. This endeavor stems from her belief in integrating “art everywhere,” a philosophy she first implemented in her own Dutch Colonial-style home in Richmond, Virginia, built in 1967. The house, acquired from its original owners, provided a robust foundation for her artistic expression, offering 3,886 square feet across four bedrooms and four bathrooms to infuse with color and unique patterns. Slaughter's approach to home decoration mirrors her painting process, focusing on layers of color, texture, and composition to achieve balance and individuality. Her artistic vision extended to personal touches, such as transforming her children’s doodles on bedroom curtains into a wallpaper pattern called ‘Scribble,’ which became a cornerstone of her collection. This collaborative effort with her children not only fosters their creativity but also contributes to their future education fund through proceeds from their designs, which also include a pattern based on her son’s watercolors named ‘Marks.’ Her home showcases an eclectic blend of styles, from contemporary art and family heirlooms to antique finds, creating a narrative of cherished possessions rather than perfectly matching items. Slaughter describes her aesthetic as “buttoned-up bohemian,” integrating diverse furniture pieces like Chinese screens, Swedish chairs from her husband's grandparents, and a custom table crafted by a friend. She also values trading her art with fellow contemporary artists, enriching her personal collection with works from individuals like Sally King Benedict, Kathleen Jones, Abby Kasonik, and Blackwell Botanicals, including meaningful pieces from her mentor, Karen Shea Silverman. The renovation of her home primarily involved painting the interior and exterior, a facelift for the kitchen, and updates to the main, kids’, and basement bathrooms, alongside the addition of a laundry room. While no walls were moved, the extensive application of her custom wallpaper throughout three bedrooms, two bathrooms, and the dining room significantly transformed the space. Slaughter was strategic with her budget, prioritizing specific projects and opting for cost-effective solutions such as incorporating handed-down furniture and antique store finds rather than new purchases. Her collection aims to inspire homeowners to embrace creativity and design outside conventional norms, making art accessible for everyday living. Slaughter plans to expand her collection with new patterns and collaborations, including custom lampshades designed to complement light sculptures by Abby Kasonik. She encourages a personalized approach to home decor, where each item contributes to a unique and meaningful story within the living space. #KikiSlaughter #HomeDecor #TextileDesign #Wallcoverings #ArtInspiredInteriors #RichmondVirginia #CreativeHome #DIYDecor #ArtisticCollaboration

BekaertDeslee's U.S. showroom in Winston-Salem, North Carolina, showcases the company's approach to mattress ticking design, emphasizing the blend of artistry and technical expertise required in the field. The showroom features a wide array of fabric samples, ranging from classic whites and grays to vibrant aquas, purples, and charcoals, displayed against crisp white walls to enhance their visual impact. The space, adorned with natural light and potted plants, fosters both functionality and creativity, reflecting the company's design philosophy. Kara Pruitt, BekaertDeslee's lead designer, highlights the comprehensive nature of design, which extends beyond aesthetics to include manufacturability and scalability. Designers must consider trends, color, texture, and dimension while ensuring that each fabric can be mass-produced efficiently. The intricate process involves controlling thousands of needles in circular knitting to create millions of stitches for a single fabric design, a testament to the technical precision involved. The U.S. design team, a multinational group including Pruitt and led by Charlene Vaz, director of marketing and design for BekaertDeslee North America, collaborates with colleagues in Canada and Mexico to form the North American design unit. This diverse team brings a wealth of skills and aesthetic sensibilities, driving innovative ideas for clients. The design process for mattress ticking typically begins by aligning the fabric's value with the customer's vision and the mattress's market positioning. Ticking serves as a crucial element of 'package design,' communicating the mattress's characteristics—whether it offers cooling properties, moisture-wicking, or simply represents quality at an affordable price. Designers work closely with the new product introduction (NPI) team to select appropriate yarn types and fabric constructions, ensuring the design meets both aesthetic and functional requirements. Client collaborations vary, with some, like Kingsdown, seeking fashion-forward, bolder designs inspired by external fashion trends, often involving multiple collaborative sessions. Other clients prioritize commodity-driven solutions, requiring well-priced, durable fabrics for long-term use. This adaptability highlights the team's ability to cater to diverse customer needs. For general market offerings, the design team relies on extensive trend research, partnering with WGSN to identify key directions in color, pattern, and consumer preferences. Current trends indicate a preference for bold and unexpected fabrics, which Vaz attributes to a post-pandemic desire for energy, particularly among Gen Z consumers who represent the future home market. Artificial intelligence has emerged as a valuable tool in accelerating and diversifying fabric design. Designers use AI generators to create unique artwork, transforming initial concepts into larger, more colorful patterns, which helps overcome creative blocks and generates novel ideas. While AI provides a starting point, the design team emphasizes that it is a tool rather than a complete solution, requiring human input and refinement. An instance involved an AI-generated image of a teal and orange paisley mattress, which inspired new fabric collections displayed at industry events. Beyond design, BekaertDeslee prioritizes dependability and sustainability. The company has reduced sample turnaround times to two weeks or less and utilizes digital rendering software to explore design ideas efficiently, minimizing waste. Sustainability is a core mission, leveraging advanced European initiatives to offer recycled polyester and circular fabrics made from biodegradable yarns in North America. An example is a zipperless, mono-material cover (100% polyester) designed for easy disassembly and recycling at the end of the mattress's life, addressing a common recycling challenge associated with mixed-fiber fabrics. Designers also proactively integrate sustainability into future projects, offering clients recycled yarn options, even if they come with a slight upcharge. The design team also works with global supply sourcing and NPI teams to ensure competitive pricing and appropriate construction for various client needs. #BekaertDeslee #TextileDesign #MattressFabrics #Sustainability #DesignInnovation #AIinDesign #CircularEconomy #HomeFurnishings #ProductDevelopment

French architect Clarisse Merlet, through her studio FabBRICK, is demonstrating the significant potential of recycling textile waste into viable construction materials. Originating from a school project, Merlet's initiative addresses the substantial pollution generated by the construction and fashion industries. The fashion industry alone contributes millions of tons of textile waste annually in Europe, with a considerable portion remaining uncollected. FabBRICK aims to transform this discarded textile into insulating, structural, and aesthetic building bricks, which can then be used to create furniture or partition walls. The development process involved extensive experimentation to refine the technique. Initially, discarded textiles are sorted by color, responding to customer preferences as FabBRICK avoids dyeing its bricks, instead deriving color from the source materials. The textile is then shredded into fibers of varying lengths (7mm, 20mm, or 40mm) depending on the project's requirements. A crucial element of the process is the proprietary, 100% ecological binding agent, developed with an engineer, which transforms the textile fibers into a clay-like consistency. This binding agent was specifically formulated to be rot-proof and mold-resistant, overcoming a significant challenge in using organic waste for construction. The mixture of fibers and glue is carefully weighed to ensure consistent density before being manually loaded into a patented machine. This machine compresses the mixture into brick form over approximately 30 minutes. The bricks then undergo a natural drying process in ambient air for 10 to 15 days. Once cured, these bricks exhibit impressive characteristics, including mechanical resistance comparable to concrete blocks, good acoustic and thermal insulation properties, and satisfactory fire resistance. While they possess good water resistance, indoor use is currently recommended. FabBRICK's business model emphasizes local production, with all ingredients and machinery sourced locally in France. This commitment to proximity is a core value, aiming to foster local manufacturing and reduce environmental impact. Despite its local focus, the studio has a global vision, recognizing the ubiquitous nature of fast fashion waste. The long-term plan involves automating the production process to increase recycling capacity and replicating the FabBRICK Factory model first within France and then internationally. This expansion strategy seeks to establish local production units globally, situated close to sources of textile waste, thereby promoting sustainable construction practices worldwide. #SustainableDesign #InnovativeMaterials #TextileRecycling #EcoFriendlyConstruction #CircularEconomy #ArchitecturalInnovation #LocalProduction #FabBRICK

The increasing adoption of additive manufacturing has expanded the role of 3D printing beyond industrial applications, establishing it as a versatile medium in art studios and various creative fields. This technology facilitates the creation of innovative artistic, conceptual, and cultural works, and has even contributed to the digital preservation and reconstruction of historical artifacts and global heritage sites. While not always the central focus, 3D printing often serves as a crucial supporting tool, enabling designers, artists, and artisans to realize new designs and concepts. A prime example of this collaborative approach is found in the Forma Fabrica collection by industrial designer Nir Neria. This collection reinterprets the traditional porcelain vase by exploring the interplay between different materials and design processes. Neria's method integrates slip casting, a ceramic technique typically used for complex shapes that traditionally relies on plaster molds. However, Neria has modernized this ancient technique by combining it with 3D printing and textiles, resulting in a novel, sustainable, and reusable molding process. The design process begins with computer-aided design (CAD) software, where the vase is rendered in 3D. This digital stage allows for precise definition of each mold component and how they will interlock. Subsequently, these mold components are 3D printed. These printed parts are then integrated with fabric, which the artist sews together. The assembled fabric and 3D-printed elements form the mold, ready for porcelain slip casting. During casting, liquid porcelain is poured into the mold and then drained after a sufficient layer has adhered to the inner fabric walls. Once the porcelain reaches the desired firmness, the mold can be disassembled, and the piece is prepared for firing in a kiln. The use of fabric as a molding material imbues the finished vases with distinctive visual and tactile qualities. The impressions of the cloth's texture, stitching, and folds are visibly transferred to the surface of the vessels, creating an intriguing contrast between the perceived weight and malleability of the material. Furthermore, the application of pigments to the inner fabrics before casting introduces an additional dimension, infusing color that mimics marbling or even denim patterns. A significant advantage of this method is the reusability of the mold. The modular nature of the 3D-printed support structure also allows for extensive customization, enabling the creation of numerous unique shapes and configurations from a relatively small set of initial components. The Forma Fabrica collection exemplifies Nir Neria's commitment to innovative design, with 3D printing and sustainable biomaterials increasingly central to his work. #3DPrinting #AdditiveManufacturing #VaseDesign #CeramicArt #SlipCasting #IndustrialDesign #SustainableDesign #TextileIntegration #NirNeria