Jil Sander's dedication to Japanese denim in Milan

The 62nd Salone del Mobile in Milan, a prominent international design event, and its accompanying Fuorisalone events are showcasing a diverse range of Japanese design talent. Several established and emerging Japanese designers and brands are presenting their latest works, emphasizing innovation, sustainability, and traditional craftsmanship. Among the newcomers at the Rho Fiera exhibition complex are Adal and Nagano. Adal is presenting its 'Look into Nature' brand, which re-imagines igusa (Japanese rush grass), traditionally used in tatami, as a sustainable material for contemporary furniture. This involves transforming igusa into flexible textiles for chair backrests, coffee table panels, minimalist room screens, and abstract wall art, all inspired by Japanese landscapes. Nagano Interior, on the other hand, focuses on solid wood, highlighting its natural grain and texture through meticulous hand-finishing in its 'Think Basic' series. Daft about Draft, directed by Taiju Yamashita, is exhibiting for the second time at Rho Fiera. The brand features plush furnishings and sleek tables characterized by curved forms, soft textiles, dusky tones, and a focus on velvety textures, dark woods, and brushed metals. Yamashita's approach views furniture as a medium for expression, aiming to create personal narratives through user experience. Sixteen works are on display this year, with six making their debut in Milan. Karimoku Furniture is presenting its largest Milan showing to date, with four of its brands spread across different venues. At Rho Fiera, Karimoku Case, a collaboration with renowned designers Norm Architects and Keiji Ashizawa, showcases furniture for specific architectural projects. New pieces include those designed for the 'Bellustar Tokyo' hotel (Case 09) and the 'Azabu Hills Residence' complex (Case 10), featuring curvilinear forms, subdued hues, and the first use of lighter-toned keyaki (zelkova) wood in the Case series. Fuorisalone events in Milan’s Tortona district feature Karimoku New Standard, making its first appearance in five years with an installation curated by Connie Husser and creatively directed by David Glaettli. Karimoku's collaboration with Zaha Hadid Design also returns with new additions to its architecturally inspired Seyun lineup. A new brand, Mas, an all-wood furniture line from Karimoku, is also introduced. Named after the traditional hinoki (Japanese cypress) masu cup and a nod to 'mass production,' Mas includes clean-lined chairs, benches, stools, and tables made from Japanese coniferous woods, detailing unique joinery. SaloneSatellite, which spotlights young designers, features Hana Mitsui, who is re-thinking traditional textile production through recycling waste materials. Her 'Visual Illusion' installation includes 'Blurring Checker,' a fabric inspired by the deliberate misalignment of independently dyed warp and weft threads in kasuri textiles, creating soft, blurred patterns. Product designer Kodai Iwamoto showcases new lighting works, including the 'Komoru' circular wall lamp and the 'Arrow Stand Lamp,' which emanates light mysteriously from behind, demonstrating his self-taught techniques in metalworking and wood carving. Further Fuorisalone innovations include the 'Origin of Simplicity. 20 Visions of Japanese Design' exhibition at the ADI Design Museum, curated by Rossella Menegazzo. This exhibition explores simplicity in Japanese design from the 1960s to the present, featuring over 150 works in a forest-like setting designed by Kenya Hara. The Isola Design Festival, expanding to new venues in Milan’s Isola district, includes three exhibitions with Japanese creators. Yu Watanabe transforms his space into an atelier for 'Disclosure: Design Studios Unveiled,' exhibiting material explorations and urushi (Japanese lacquer) pendant lamps. Shinkogeisha’s 'New Craft' exhibition combines design, engineering, and technology into contemporary craft, showcasing 3D-printed items like Nosemono (attachments to natural rocks and branches) and Tilde’s knit-textured radios. Arakawa Grip celebrates its 50th anniversary with an installation by Kaori Akiyama, and also features new furniture and homeware products from 16 Japanese designers. Other notable presentations include 'Wonderpowder,' a collaboration between design studio We+ and Shimadzu, exploring the design potential of powder as a material through an interactive installation at Dropcity. Majotae, a textile brand directed by Teruhiro Yanagihara Studio, is launching its first collection of naturally dyed bedding, reviving taima-fu, an extra-fine hemp fabric from the Edo Period, with the help of modern technology. #SaloneDelMobile #MilanDesignWeek #JapaneseDesigners #FurnitureDesign #SustainableMaterials #TextileInnovation #Craftsmanship #ArchitecturalDesign #ProductDesign

Milan Design Week and Salone del Mobile 2024 provided a prominent platform for Japanese design, showcasing a diverse range of innovative creations from various brands. The event highlighted traditional craftsmanship integrated with modern aesthetics, spanning furniture, lighting, textiles, and art installations. Several key brands presented new collections and exhibitions across Milan, emphasizing unique materials and design philosophies. Karimoku Case, known for its woodworking and manufacturing precision, exhibited at Salone del Mobile with a theme of 'Natural Contrasts.' The exhibition, curated by architect Keiji Ashizawa, created a serene atmosphere with spaces designed to connect indoor and outdoor elements. A notable feature was the reintroduction of _keyaki_ (zelkova) wood, traditionally used in temples and shrines, into contemporary furniture, aiming to revive its popularity. Designs by Ashizawa, Norm Architects, and Norman Foster were prominently displayed, reflecting a holistic approach to furniture within specific project settings. Three other Karimoku brands also held separate exhibitions. Seyun, a collaboration fusing Zaha Hadid's futuristic designs with Karimoku's wood craftsmanship, unveiled a new side table, tray, and lounge chair, all crafted from single pieces of wood. Mas, creatively directed by Wataru Kumano, debuted in Milan with 'Project Hinoki,' an exploration of Japanese cypress wood, featuring minimal lights by Daniel Rybakken and low triangular tables by Ville Kokkonen. Karimoku New Standard, with David Glättli as creative director, presented its first solo show in five years, showcasing pieces like the Polar sofa by Moritz Schlatter and textiles from a collaboration with Reiko Sudo's nuno, all in an atmospheric artist's studio setting. The textile industry was represented by Hosoo, a centuries-old Kyoto maker, in collaboration with Michele de Lucchi. Their 'Mind Landscape Collection' explored forest aesthetics through four new textiles (Cedar, Red Elm, Red Oak, Afzelia) with motifs derived from macro photographs of wood fibers and satellite imagery, blurring the lines between wood and fabric. Issey Miyake's 'Fold and Crease' installation, created by Dutch collective We Make Carpets, featured 60,000 hand-dyed bamboo skewers forming an undulating abstraction, evoking an underwater landscape within the brand's flagship store. Sugiyama Furniture, specializing in solid iron craftsmanship, presented 'The Beauty of Lines,' showcasing the versatility of iron in minimalist interior products. Collaborations with Japanese creatives yielded pieces like Kazuteru Murasawa's Felice chairs, combining lightweight iron with organic leather details, and Fumie Shibata's Wall Deco series. Ambientec, a Japanese lighting brand, introduced Fotika, a hybrid portable and desk lamp designed by Kensaku Oshiro, inspired by the light filtering through ocean waters and crafted from a single piece of aluminum. Majotae, a Japanese hemp brand, presented Majotae 9490, a new line of bedding made from _tamai-fu_, a super-fine traditional hemp, with textiles displayed in natural dyes. The exhibition also showcased historical hemp artifacts and a live demonstration of traditional weaving. Stellar Works, a Japanese furniture brand based in Shanghai, returned with an expansive showcase inspired by Marco Zanuso, featuring new Neri & Hu products like the Qi collection sofas and the Taiko terrazzo table by Studio Stefan Scholten. Finally, Nagano Interior, making its Salone del Mobile debut, presented solid wood furniture crafted from materials like red oak and Japanese ash, embodying the concept of 'wa' or harmony, with pieces like the DT614 table and Corona chair. Ritzwell, another Fukuoka-based furniture maker, blended Japanese craftsmanship with functional design, showcasing the Constantino Armchair by Shinsaku Miyamoto and the MT Coffee Table, alongside new wood color shades Sohbobku and Gen. #MilanDesignWeek #SaloneDelMobile #JapaneseDesign #FurnitureDesign #TextileInnovation #LightingDesign #Craftsmanship #SustainableMaterials #InteriorDesign

Jiun Ho, founder and president of a multidisciplinary firm specializing in residential and commercial design, furniture, lighting, and art, has released a new textile collection inspired by Japan. Ho, who has traveled to over a hundred countries, considers Japan his constant source of inspiration, stemming from his first visit as a boy from Malaysia. His latest collection draws from the natural elements and harmonious color palettes of Kyoto, the former capital of Japan and a hub of history and culture. Ho describes Kyoto as a city where old shops with aged-wood detailing line the streets, and geishas clad in hand-woven kimonos attend traditional tea ceremonies. He appreciates the subtlety, craftsmanship, and wabi-sabi aesthetic of the city. The color names in the new textile collection reflect various aspects of Kyoto, such as greens and golds inspired by Kinkakuji, a temple known for its gold leaf and cypress trees. Ho plans to return to Japan for personal rituals, including bike rides to explore Kyoto's temples like Kiyomizu-dera and its gardens, hoping to witness the cherry blossoms in bloom. Ho emphasizes that Japanese culture uniquely allows materials to speak for themselves, whether in textiles, cuisine, or ceramics. He details the designs within the Kyoto collection: **Ami:** This performance textile features a partially buried boucle, giving its ribbed surface a texture reminiscent of flowering trees. It comes in Washi, Rice Paper, and Enoki. Ho notes that most textiles in the collection are high-performance, utilizing the latest generation of polypropylene for a softer feel and enhanced resistance to abrasion and pilling, making them suitable for residential, commercial, and yacht use. **Hanakago:** Named after traditional Japanese flower baskets, this is Ho's first indoor-outdoor print, showcasing an organic graphic design with vibrant color pops. He explains that while Japanese culture is often seen as calm, it also has a vibrant side, which he sought to capture. For example, the Japanese Maple colorway features deep brown, pink, red, gold, and orange, mimicking the tree's hues. Indigo references the shibori dyeing technique with interwoven green for contrast, while Matcha reverses this with dominant green and light blue. Black Sesame, his personal favorite, pairs bright yellow against a deep charcoal background. **Lava:** This popular fabric, known for its linen-like feel and volcanic stone-inspired texture, is reintroduced with lighter neutrals: Rice Paper and Pearl. It is an indoor-outdoor polypropylene. **Raku:** Inspired by a 16th-century Japanese pottery style characterized by unique, organic, and slightly rough pieces, this high-performance fabric has a "crackled" texture with multiple shadings. Colorways include Shiitake (mushroom tones), Matcha (tea greens), and Mizu (deep blues). Kintsugi, named after the Japanese art of repairing broken ceramics with gold, features gold threads woven into darker yarns, symbolizing the celebration of imperfection. **Salar II:** Inspired by Ho's journey to the Salar de Uyuni salt flats in Bolivia, this re-released fabric comes in Salt, Platinum, and Onyx. The chenille fabric has a slight sheen and reflectivity, and its pattern directly translates photographs of the salt flats. **Tatami:** Named after classic Japanese floor mats, this textile has an irregularly ribbed surface and a dry hand, yet is surprisingly soft and exceptionally durable. It is ideal for seating and headboards due to its high performance and easy care, making it family-friendly. One colorway, Sureto, means "black" or "charred" in Japanese. **Umami:** Woven at a Belgian mill using a jacquard technique and seven distinct types of yarn, this linen-blend fabric has a tactile boucle slub texture. Its six colorways, including Sea Salt, Toro, Shiso, and Whiskey, evoke complex flavors. Ho envisions it for upholstery and drapery in traditional Western homes. **Yugen:** Lighter and more ethereal than Umami, Yugen is an indoor-outdoor performance fabric that defies the perception of performance fabrics being tough. Its chenille composition provides a soft hand. Colorways include neutrals like Washi, Taro, and Rock Garden, as well as saturated options like Wasabi (chartreuse green) and Mizu (blue). Yugen, an aesthetic concept describing subtle, mysterious grace, aptly rounds out the collection inspired by Kyoto's nuances. #JiunHo #TextileCollection #KyotoInspiration #JapaneseDesign #InteriorDesign #PerformanceFabrics #LuxuryTextiles #HomeDecor #ProductLaunch

The 'Tokyo Fiber ’09 Senseware' exhibition, directed by graphic designer Kenya Hara, showcased Japan's advanced textile industry during Milan Design Week. The exhibition, held at the Triennale Museum, featured high-technology chemical fibers and innovative works developed by over 20 companies, designers, and artists. Each displayed project highlighted the practical and aesthetic applications of these cutting-edge materials. One featured exhibit was the 'Light Fiber Bench' by Gwenael Nicolas (Curiosity), which utilized ESKA plastic optical fiber to create a luminous seating concept. Another notable project from Nissan involved a 'Laughing Vehicle' wrapped in ROICA® high-stretch tricot, demonstrating the material's flexibility and aesthetic potential. Mintdesigns presented masks modeled after human and animal faces, crafted from SMASH, a highly thermoplastic nonwoven fabric, showcasing its moldability. Yasuhiro Suzuki contributed a 'Breathing Mannequin Frame' using BREATHAIR®, a 3D spring structure, illustrating its unique volumetric properties. Kosuke Tsumura designed a 'Cocoon Cradle' for a newborn baby, employing FELIBENDY, a tunable nonwoven fabric, emphasizing its soft and adaptable nature. Theatre Products created an 'Expanding Airy Tea Table' filled with wind, made from uts-ultfino, an ultramicro polyester material, highlighting its lightness and ethereal quality. Makoto Azuma's 'Planter for Moss Wafting in Midair' utilized TERRAMAC®, a biodegradable 3D material, focusing on sustainable and innovative botanical displays. Ross Lovegrove designed the 'Teardrop' ultra-lightweight backpack, incorporating T.W.F (fabric) and MELSET (fiber), a triaxial woven fabric, for enhanced durability and reduced weight. Shigeru Ban presented a 'Super Thin/Light-Weight Chair' made with TENAX® carbon fiber, demonstrating the material's strength-to-weight ratio in furniture design. Jun Aoki's 'Ultra-Long Arm Lighting Fixture' also employed TORAYCA® carbon fiber, showcasing its structural capabilities for extended designs. Panasonic Corporation Design Company displayed a 'Wiping Robot' that utilized NANOFRONT, a nanofiber, illustrating its fine texture and cleaning efficacy. Kashiwa Sato contributed 'Toys Comprising Visible Air,' made from BREATHAIR® 3D spring structure, emphasizing its playful and structural versatility. Hiroo Iwata presented a 'Robot Tile' incorporating KURALON® EC, a conductive fiber, to create a textile switching device, hinting at interactive surfaces. Finally, Kengo Kuma designed a 'Light Penetrable Concrete Construction' using ESKA plastic optical fiber, exploring the integration of light into architectural materials. Nendo’s 'Paper Lantern Blown Up Like a Balloon' used SMASH thermoplastic nonwoven fabric, showcasing its ability to form voluminous, lightweight structures. Antonio Citterio designed a 'Sofa with Electric Headrest' using FINEX® multi-layered stretch fabric, highlighting advanced textile applications in comfort and functionality. #TokyoFiber #SensewareExhibition #MilanDesignWeek #TextileInnovation #MaterialDesign #ProductDesign #JapaneseDesigners #FiberTechnology #IndustrialDesign

Milan Design Week 2025 showcased a significant presence of Japanese design and craftsmanship across various creative disciplines, ranging from furniture and lighting to unique homes and traditional tea caddies. This year's event highlighted an array of projects that blended traditional Japanese aesthetics with contemporary design principles, demonstrating a commitment to functionality, material integrity, and serene living. Among the standout exhibits was Nao Tamura’s ‘Vosco’ portable light for Ambientec. Tamura, inspired by timeless tools, crafted a light with a clean-lined solidity, featuring a cast iron top and a base made from Japanese walnut, maple, or oak. The design emphasizes utility and durability, incorporating a new Fresnel lens for uniform light diffusion across five levels, catering to diverse needs from a gentle glow to brighter illumination. Tamura's approach reflects a broader philosophical shift towards designing objects that are truly useful and enduring in a world already saturated with products. Atsushi Shindo presented ‘Some Echoes,’ a lighting installation at Salone Satellite inspired by a deep forest. Crafted from hundreds of hand-split Japanese sawara cypress wood pieces, the installation diffused a warm LED light, mimicking the scattered light through trees. Shindo aimed to create a 'moment in time' rather than just an object, using natural materials to evoke a sense of tranquility and connection to nature. Kengo Kuma collaborated with Gandia Blasco to create ‘Hos,’ a furniture collection that explores the interplay between timber and textiles. The collection features rug-like textiles made from recycled PET fibers draped over structural wood frames, reminiscent of Japanese temple joinery. Kuma appreciated the rich texture and natural roughness of the recycled PET, using it to create a harmonious blend with wood. Additionally, Nao Tamura launched the ‘Dunne’ collection for Gandia Blasco, characterized by streamlined curves inspired by ocean waves. Muji, with Paris-based Studio 5.5, unveiled a modular micro-house during Milan Design Week. This manifesto for modern living was constructed from five functional ‘slices’ using bio-based and repurposable materials, including recycled textiles for insulation. The design prioritized sustainability and essentialist functionality, featuring natural ventilation, a white roof for heat reduction and rainwater collection, a deep window-side wooden bathtub in the 'ofuro' bathroom, and a mini Japanese 'niwa' garden. The interior boasted a metal grid system for adaptable storage and a tatami sleeping area, epitomizing micro-living efficiency. Maruni Wood Industry presented its 2025 collection, showcasing designs by Naoto Fukasawa, Jasper Morrison, and Cecilie Manz. Fukasawa's updated Hiroshima sofa included a new modular addition with an angled design, promoting comfortable conversations. Cecilie Manz introduced ‘Maku,’ a serene screen made from washi paper and hinoki cypress, designed as a versatile object that can function as a sculpture or a light source. Her expanded Shoto collection featured a high table and stools with softly rounded edges. Jasper Morrison's new Lightwood Sofa, with its circular wood armrests and soft cushions, emphasized lightness and a flat-packed design. His T&O collection also expanded to include high-end office furniture, reflecting a shift towards more inspiring workspaces. Adal Look into Nature focused on revitalizing the tatami industry by reimagining igusa (rush grass) in contemporary forms. Their exhibition featured the Haori Armchair, with a traditional kimono jacket-shaped cover, and Nagare, undulating wall panels of woven igusa inspired by natural movements. Karimoku Case (KC), Karimoku New Standard (KNS), and Mas presented distinct approaches to design. KC showcased new work designed for specific spatial projects, emphasizing serenity and comfort. KNS and Mas created a lounge space with brightly colored furnishings and prototypes, including a new paper lamp and contemporary woven baskets, set against an urban film installation. Yomosugaru, a new Japanese lighting brand, debuted minimalist outdoor lights inspired by nature. Highlights included Suiren (water lily) with flat circular lights, Shobu (iris) with brushstroke-like black forms, and Kodama, a contemporary interpretation of Japan’s tree spirits. Time & Style harmonized Japanese washi paper with Italian architecture in their renovated Largo Treves showroom, displaying their new 2025 collection of contemporary pieces in a serene setting. Hideo, specializing in high-quality freestanding bathtubs, exhibited luxuriously spacious white tubs made from eco-sustainable materials, such as Cristalplant Biobased Active. Finally, Kaikado, Japan’s oldest tea caddy makers, celebrated their 150th anniversary with a book and an exhibition of 150 tea caddies, alongside demonstrations of their craftsmanship. Nagano Interior showcased a new series of stools made from camphor wood, featuring playful finishes and a foldable wooden bookcase. #MilanDesignWeek #JapaneseDesign #FurnitureDesign #LightingDesign #SustainableDesign #Craftsmanship #MinimalistDesign #InteriorDesign #ProductInnovation

Acne Studios, the Swedish fashion label, has opened a new flagship store in Tokyo's Aoyama district, a move that encapsulates the brand's playful yet minimalist aesthetic. The store, located on a prominent corner of Omotesando, an area known for its architectural significance, was designed by Acne Studios' founder and creative director, Jonny Johansson, in collaboration with Stockholm-based studio Halleroed. This new location replaces a previous store on a nearby backstreet and represents the culmination of Johansson's long-standing connection and inspiration drawn from Japan. The conceptual foundation for the store was inspired by the idea of a 'garage' – an open, technical space. Johansson envisioned an interior that maintained the skeleton of the original building, incorporating extensive use of glass to create a seamless flow between the inside and outside, allowing visitors to feel connected to Aoyama. This structural openness is complemented by a unique design element: softly-textured pink granite stone. This material is used to connect various spaces, extending across floors and walls, and forms two prominent, airy staircases with clean, minimalist lines and subtly indented handrails. The choice of pink for the granite was deliberate, aimed at avoiding a 'banal' or 'naïve' impression. According to Ruxandra Halleröd, co-founder of Halleroed, the team explored various textures and materials before settling on a granite that intensifies in pink hue when flamed. This approach was intended to create a mature and nuanced pink, moving beyond typical feminine connotations to become a 'pop color' that aligns with Acne Studios' slightly vague yet distinct brand identity. Contrasting the soft pink granite, the store integrates reflective metal accents, angled mirrors, and dynamic stainless steel clothing hangers that are sharply suspended from the ceiling. This blend of materials and forms adds to the store's contemporary and edgy atmosphere. Further enhancing the creative interior are bespoke elements from long-term Acne Studios collaborators. British designer Max Lamb contributed a series of pieces, including shiny soft leather seats that appear to merge with the walls, tufted carpets, and 'Blob' chairs made from hand-dyed yarns. Illumination is provided by dozens of custom strip-lighting fixtures, conceived by designer Benoit Lalloz, which are strategically placed across ceilings and integrated into metal displays. Surrealist mannequins by artist Daniel Silver introduce an additional layer of artistry. Ruxandra Halleröd emphasizes that the design thrives on contrasts, mirroring Tokyo's own blend of high-tech and historical elements. The stark, hard-material-clad building contrasts with the irregular, shiny furniture, creating unexpected visual and tactile experiences. Christian Halleröd, also a co-founder of Halleroed, highlights Japan as a significant source of inspiration, particularly for its commitment to quality and craftsmanship. The store's opening is also marked by a collaboration with artist Takuro Kuwata, who created a series of candy-bright ceramic vessels and reinvented the brand's 'Camero' bag and denim jeans with rainbow designs and trompe l'œil effects. This reflects Johansson's perspective that "fashion is supposed to be fun" and a desire for luxury to be inclusive rather than exclusive, a philosophy that deeply informs the new Tokyo flagship. #AcneStudios #Tokyo #FlagshipStore #FashionDesign #RetailArchitecture #InteriorDesign #JapaneseCraftsmanship #ContemporaryArt

Fischbacher 1819, a Swiss heritage textile brand, presented "Ancient Memories" at Milan Design Week 2025. This immersive textile exhibition explores the emotional and material depth of fabric, taking a deliberate pause from fast-paced design trends. The project, in its second chapter, is a collaborative effort between designer Marcel Wanders, textile artist Caterina Roppo, and the brand’s creative director Camilla D. Fischbacher. Together, they have developed a series of materials that convey narratives through their aesthetic and tactile qualities. These materials include hemp, jute, and recycled cotton, emphasizing the significance of memory as a design principle. Central to "Ancient Memories" is a deep respect for traditional craft and a deliberate pace in production. The collection prominently features hemp, a historically significant fiber, symbolizing ancient knowledge and offering a counter-narrative to contemporary consumerism. This foundation allows for the creation of new materials imbued with historical textures. Examples include "Animalia Echo," a flat-weave rug made from undyed jute and wool, designed to evoke the appearance of ancient stone engravings. "Puffy Loom" combines soft knots with rough textures, creating a striking contrast in its woven structure. "Animalia Traces" is a tufted piece crafted from silky Tencel, featuring a primal motif that subtly incorporates the initials of its creators. These pieces are intended to be perceived as artifacts, each with its own unique story. Textiles within the collection, such as "Sacred Bark" and "Eco Saga," exemplify a raw and personal aesthetic. These pieces integrate jute warps with recycled cotton wefts, producing textures reminiscent of natural elements like bark and earth, and embodying a sense of memory. "Nature’s Canvas" displays a vintage fade, with its appearance subtly shifting after each cut, highlighting the natural evolution of the material. "Animalia Genealogy" is a jacquard trim depicting imagined animals, suggesting a connection to ancient myths. A key message conveyed through these textiles is the appreciation of imperfection and variation, viewing them not as flaws but as inherent elements that enhance the value and character of each piece. The passage of time is also embraced as a contributing factor in the design process. The Milan Design Week exhibition transformed Fischbacher 1819's showroom into a dynamic archive. Rugs and textiles were curated alongside vintage furniture and works by international designers, creating a cohesive spatial narrative and an emotionally resonant environment. Textile artist Caterina Roppo contributed to the exhibition with her solo presentation, "Everybody has pain somewhere," which delves into the layering of time through material. A video installation by Rashed Qurwash further enriched this multidisciplinary dialogue, adding another layer to the overall experience. The exhibition underscores the importance of considering design as a form of storytelling. Ultimately, "Ancient Memories" is not merely about evoking nostalgia; it advocates for resilience in design. It challenges conventional views on materials, proposing they be considered as legacies rather than fleeting trends. Fischbacher 1819 demonstrates that sustainable design extends beyond minimizing negative impacts; it involves creating with profound meaning and intention. The collection encourages a reflection on enduring qualities in a world often preoccupied with novelty, urging an appreciation for what lasts and holds intrinsic value. Fischbacher 1819, a Swiss textile house with over two centuries of history, continues its legacy of crafting luxury textiles, rugs, and wall coverings for both private and public spaces, guided by a commitment to craftsmanship, creativity, and material excellence. The family-run company, now led by the sixth generation, integrates tradition with contemporary sensibilities. #TextileDesign #SustainableDesign #MilanDesignWeek #Fischbacher1819 #MarcelWanders #CaterinaRoppo #InnovativeMaterials #Craftsmanship #MaterialMemory

The article delves into the ancient Japanese dyeing technique of shibori, focusing on artist Jennifer Falkowski's passion and expertise in this craft, particularly with indigo dye. Falkowski describes indigo as "magical," highlighting the unique chemical transformation where a yellow-green liquid turns blue upon oxidation when fabric is exposed to air. This fascinating process distinguishes indigo dyeing from conventional fabric dyeing methods. Shibori, one of Japan's oldest dyeing techniques, involves manipulating fabric through folding, clamping, stitching, or blocking sections to create intricate patterns by preventing dye from reaching certain areas. While similar in principle to tie-dye, shibori offers a broader range of complex patterns and textures. The historical significance of indigo in Japanese culture is also touched upon, noting its use for thousands of years and its reputed antibacterial properties, which led samurai to wear indigo-dyed fabrics under their armor for protection against infection from battle wounds. Although other dyes can be used for shibori, indigo remains the traditional choice due to its rich history and distinctive color. Falkowski initially explored regular fabric dyes but found them uninspiring due to their straightforward color-changing nature. Her discovery of shibori provided a creative outlet that offered more depth and unpredictability. Recognizing the messy nature of indigo dyeing, which typically necessitates an outdoor workspace, Falkowski collaborates with local businesses such as Blue Bar Quilts in Middleton, The Electric Needle in Madison, and Mill House Quilts in Waunakee. These partnerships enable her to host classes for individuals across various experience levels, fostering a communal learning environment for this intricate art form. She emphasizes that shibori encourages participants to embrace imperfection and relinquish the need for precise control over the outcome, making it a liberating artistic experience. Falkowski not only teaches shibori but also markets her indigo-dyed creations in the Madison area. Her product line includes infinity scarves sold at The Regal Find in Middleton, along with unique baby onesies featuring one-of-a-kind patterns. At Blue Bar Quilts, customers can purchase her indigo fabrics pre-cut for quilt makers, as well as upcycled tunics. The artist's dedication to the craft extends to more immersive experiences, as evidenced by her sold-out weekend-long "Deep Into Indigo Retreat" in Westby, Wisconsin. Her upcoming local class at The Electric Needle on March 24 will cover the history and chemistry of indigo, demonstrate various shibori pattern-making techniques, and culminate in the exciting reveal of the dyed fabrics. The article concludes by providing details for those interested in attending her Shibori Experience Class, including the date, time, cost, and location. #Shibori #IndigoDyeing #JapaneseCraft #FabricArt #TextileDesign #DIYCrafts #JenniferFalkowski #MadisonWisconsin

The Cloth Coffee Table, designed by Portuguese designer João Teixeira of Teixeira Design Studio, is a furniture piece that embodies the "Japandi" design trend, a fusion of Japanese simplicity and Scandinavian functionality. The table features sinuous curves inspired by the delicate movement of fabric, contrasting with the inherent hardness of wood to create a bold yet elegant aesthetic. Teixeira's design aims to achieve a balance between these seemingly opposing elements, articulating a design language that showcases interesting contrasts in colors, materials, and shapes. The core structure of the Cloth Coffee Table comprises two wavy legs supporting a flat tabletop. These legs are crafted using a CNC mill for precise cutting, followed by a steam bending process to achieve their distinctive curvilinear forms. The two leg components are interconnected by a metal bookstand. This bookstand is not merely functional but also aesthetically integrated, featuring a curved bottom that echoes the wavy contours of the legs, thereby establishing a harmonious visual relationship. Additionally, the bookstand introduces a 'pop of color' to the overall design. A key design consideration was the concealment of all hardware, which contributes to the table's clean lines and enhances its structural integrity. The article highlights the Japandi trend as a central inspiration for the Cloth Coffee Table. Japandi is an interior design philosophy that combines the minimalist principles and functional emphasis of Scandinavian design with the elegance and tranquility characteristic of Japanese aesthetics. This blend is seen as a natural fit due to both styles' shared appreciation for simplicity, craftsmanship, and the beauty derived from textural and tonal variations. The goal of Japandi is to foster a harmonious and balanced environment. Key characteristics of the Japandi trend, which are reflected in Teixeira's design, include minimalism, the use of natural materials, a neutral color palette, a strong emphasis on functionality, and a high regard for craftsmanship. The trend also promotes a connection to nature. In the Cloth Coffee Table, Teixeira has meticulously integrated these elements to create a piece that, depending on the viewing angle, presents a balance between boldness and elegance. This approach results in a coffee table that is not only a functional item but also a sculptural statement, embodying a thoughtful convergence of diverse design philosophies. #ClothCoffeeTable #JoãoTeixeira #TeixeiraDesignStudio #JapandiTrend #ScandinavianDesign #JapaneseAesthetics #FurnitureDesign #InteriorDesign #Minimalism

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

Dedar, an Italian textile manufacturer, has introduced a new line of fabrics called The Art of Jacquard. This collection is notable for its vibrant colors and intricate graphic patterns, which are achieved by weaving ultra-thin yarns directly into the material rather than employing traditional methods such as embroidery, printing, or stamping. The collection emphasizes the sophisticated technique of jacquard weaving, which allows for complex designs and a rich textural quality. One prominent textile within this collection is "This Must Be The Place," a design that incorporates tropical birds and botanical motifs. These natural elements are juxtaposed with abstract architectural forms, a collaboration with French illustrator duo Icinori. The creation of this specific fabric involves an interlacing process of 160 threads per centimeter, utilizing four distinct wefts, one of which contributes a metallic effect to the overall design, adding depth and a subtle sheen. This intricate weaving technique contributes to the fabric's detailed imagery and robust construction, making it suitable for furniture upholstery, as shown in visuals featuring sofas adorned with the pattern. Another distinctive fabric in The Art of Jacquard collection is "Dalie Papaveri Tulipani." This design presents an abstract interpretation of a floral landscape. A unique characteristic of this textile is its resemblance to the reverse side of a traditional jacquard fabric, offering a sophisticated and unconventional aesthetic. This fabric is versatile, designed to be suitable for both curtain applications and seating upholstery, allowing for cohesive design schemes across different elements within an interior space. Additionally, the collection includes the "Be Bop A Lula" fabric, which draws inspiration from the imagery of warm summer nights on a Pacific island. This textile features a repeating pattern of palm trees rendered in a diverse array of playful colors. Its vivid and dynamic design makes it an option for those seeking to introduce a lively and exotic atmosphere into their living environments, whether through curtains or upholstered pieces. Finally, the "Intarsiato" jacquard weave stands out for its three-dimensional geometric pattern. This effect is achieved through the alternating use of matt and metallic yarns, which are woven together to create a visual resemblance to classic inlays of ebony and mother-of-pearl. The interplay of textures and finishes in the Intarsiato fabric provides a tactile and visually engaging surface, suitable for accent pieces such as armchairs and also curtains, demonstrating the collection's diverse applications and aesthetic range. #Dedar #JacquardFabric #TextileDesign #HomeDecor #InteriorDesign #FabricCollection #LuxuryTextiles #PatternDesign #Upholstery

Metaphor Interior Architecture, a Jakarta-based interior design consultancy, services clients globally. This firm, composed of creative individuals, aims to provide optimal design solutions, specifically focusing on The Zora Kanade cluster. Christine, a senior associate, spearheads the design for Kanade Type 12. She reveals that her prior work on the Samasana Club House at The Zora provided a foundational understanding of the developer's design aspirations for the Kanade Cluster, which she extended to its three show unit houses. Her approach to the design brief involved analyzing the high-end target market and varied price points of the three housing units to determine appropriate interior design concepts. This led to distinct designs for each show unit, all incorporating a Japanese sensibility tailored for a modern, affluent demographic. Christine explains that the Japanese philosophy is translated not through direct imitation, but through the principle of 'balancing,' akin to Zen philosophy. This balance is evident in the harmonious use of colors, materials, and room composition, which collectively contribute to the desired ambiance. Elaborating on design balance, Christine highlights that each room's decor aligns with its function. For instance, a spacious area between the living and dining rooms demonstrates their strategy for balancing different zones within a single space. They also collaborate with Henco Home Decor to supply custom-designed furniture. Regarding color palettes, earth tones like brown or gray form the base, augmented by accent colors such as burnt orange, teal, and combinations thereof. While orange might not be traditionally Japanese, teal and olive are chosen for their natural associations, reflecting leaf colors. These accent colors are strategically employed to infuse a modern and luxurious feel into the Japanese aesthetic. Acknowledging the Japanese preference for simplicity, Christine clarifies that the target market's demand for luxury necessitated a nuanced approach to color, resulting in a unique modern atmosphere. The three show units, contrary to having a common thread, are each designed with distinct interior concepts to cater to their specific target markets. For example, the Type 12 unit targets a mature clientele prioritizing luxury, while Type 8+ and Type 10 units are designed with younger families in mind, featuring more youthful aesthetics. To ensure each unit resonates with potential buyers, the design process incorporates diverse consumer style preferences. These customer needs are then translated into unique designs for each unit, varying in color and overall concept. Material selection prioritizes both aesthetics and ease of maintenance, with choices like solid surface, marble, or laminate ensuring durability and practicality. #InteriorDesign #JapaneseDesign #LuxuryHomes #MetaphorInteriorArchitecture #HomeDecoration #DesignPhilosophy #ColorPalette #MaterialSelection

Older, a design brand founded by Letizia Caramia and Morten Thuesen, initially focused on revolutionizing hospitality uniforms. The duo, who met at Alexander McQueen, launched Older in 2013 to address what they perceived as a lack of ideology, sustainability, and imagination in the fashion industry. Their unique approach blended their interests in architecture, gastronomy, and wine, leading them to create utilitarian yet stylish uniforms. Older quickly gained recognition for its asymmetric silhouettes, high-quality bespoke bio-cotton fabrics, and meticulous attention to functional details like fastenings and pockets, all while prioritizing sustainability in their design and production processes. Over the years, Older has secured commissions from prominent clients, including Restaurant 108 in Copenhagen, Copenhagen Contemporary, Tate Modern, the Snøhetta-designed Under restaurant, and Massimo Bottura’s Refettorio. A significant project involved designing uniforms and accompanying objects for Olafur Eliasson’s Fjordenhus in Vejle, Denmark. This collaboration, which included textile sculptures and specially engineered napkins, profoundly influenced Caramia and Thuesen, inspiring them to expand their creative scope beyond uniforms. Their recent endeavor is "Wide Eye," a debut furniture and objects collection developed in collaboration with Danish artist Alexander Vinther. The collection reflects the designers' passion for radical Italian movements, such as those of Superstudio and Archizoom, the postmodern aesthetics of Afra and Tobia Scarpa, Carlo Mollino’s craftsmanship, and the Gesamtkunstwerk concepts of Joe and Gianni Colombo. Milanese curator Valentina Ciuffi, known for her work with Nilufar and Alcova, assisted in presenting the collection through an exhibition and a book. Ciuffi lauded Older’s profound understanding of the fashion system, their detached approach from its fast pace, and their impressive architectural sensibilities, noting how they conceptualize garments as wearable architecture. With "Wide Eye," Caramia and Thuesen reversed their initial design philosophy, transforming uniform concepts into sculptural and functional furniture pieces. The collection subtly incorporates references to the human body and clothing. For example, the "Wide Eye" sofa is upholstered in the same washable Limonta nylon fabric used for their uniforms, while the "Zhora" chair features a PVC covering reminiscent of a character from *Blade Runner*. Other pieces, like the "Papi" table, subtly allude to anatomical forms. The designers exhibit a deep commitment to craftsmanship, partnering with emerging artisans like Tuscany-based Francesco Basini Gazzi for their marble pieces and a manufacturer previously associated with Tobia Scarpa for their sofa. They recently relocated from Paris to Milan, establishing a hybrid live-work space that will serve as the backdrop for the "Wide Eye" collection's launch on September 29th. The launch will feature a set designed by curator Joseph Grima, emphasizing raw materials to highlight the furniture's forms. The "Wide Eye" collection also carries a significant pro-European message. Its title is derived from the ancient Greek etymology of "Europe," and a nylon band on the sofa displays the slogan "Wide Eye Wake Up." This political agenda was influenced by the rise of populist parties in the 2019 European elections, prompting the designers to create furniture that advocates for a tolerant, open, and united Europe, aiming to infuse their designs with a conscious and revolutionary spirit. #FurnitureDesign #UniformDesign #SustainableDesign #ItalianRadicals #BladeRunnerInspired #EuropeanArtisanship #MilanDesign #PoliticalDesign #TextileInnovation

Daniel Lalonde, CEO of Design Holding, discusses the company's vision and strategic plans, emphasizing its mission to be a global leader in high-end design by focusing on innovation, accessibility, and sustainability. Lalonde, who joined Design Holding in 2021, brings extensive experience from luxury brands like Nespresso and Louis Vuitton. His strategy aims to build a solid business plan and achieve global leadership in high-end design through a portfolio of complementary brands, reaching both designers/architects and end consumers via a multi-channel approach. The core of Design Holding's strategy is to allow its brands, such as Flos, B&B Italia, and Louis Poulsen, to maintain their individual heritage and DNA while fostering collaboration to leverage natural synergies. This approach has proven successful in expanding their contract business across retail, hospitality, corporate, and residential sectors. The company is committed to promoting organic growth within its existing brands while also exploring opportunities to integrate new brands that align with its high-end positioning and values. Accessibility to customers is a key pillar of Design Holding's growth strategy. Lalonde aims to make the high-end design experience less intimidating and more accessible by investing in an omnichannel approach that bridges online and offline interactions. This includes opening directly operated stores (DOS) and mono-brand stores in key global destinations like Miami, New York, Washington, Boston, Shanghai, and Tokyo. These physical spaces provide curated environments that inspire both customers and the architecture & design (A&D) community. For example, a new retail hub is planned for Manhattan’s Madison Avenue, and a B&B Italia Design Studio in Miami will showcase multiple brands. Over the next five years, Design Holding plans to pursue a four-point strategy: enhancing brand desirability through innovative products, pursuing a direct-to-consumer journey with more store openings and e-commerce investments, expanding geographical reach into North America, Greater China, and the Middle East, and strengthening its leadership in the high-end contract business. Illustrious examples of their contract work include projects for Bulgari Hotels and Rolex Stores. Sustainability is deeply ingrained in Design Holding's ethos. Lalonde emphasizes that crafting beauty must be done sustainably, viewing durability as a true embodiment of sustainability. The company challenges its brands to design long-lasting pieces with minimal environmental footprints, focusing on a circular economy model. This involves transforming frameworks and systems across the entire value chain, from sourcing and production to consumer use and end-of-life recyclability. Examples include the B&B Italia ‘Bambole’ collection and Flos ‘Almendra’ by Patricia Urquiola, which utilize recycled materials and facilitate recyclability. Additionally, Louis Poulsen’s 'PH 5' take-back scheme demonstrates a commitment to upcycling and reusing existing materials. Looking ahead to Salone del Mobile 2023 and Milan Design Week, Design Holding plans to showcase numerous new designs, with a particular focus on Maxalto. Flos will present new decorative and architectural designs at Euroluce, while B&B Italia and Fendi Casa will display their latest collections at their respective showrooms in Milan. The company's participation highlights its ongoing commitment to innovation and engagement within the global design community. #DesignHolding #DanielLalonde #LuxuryDesign #SaloneDelMobile #MilanDesignWeek #BrandStrategy #Sustainability #RetailExpansion #InteriorDesign

Ikat patterns have gained immense popularity in both fashion and interior design, yet many consumers are largely unaware of the textile’s rich cultural origins. This article delves into the history and contemporary resurgence of ikat, particularly focusing on its Central Asian roots and its introduction to Western fashion by designers like Oscar de la Renta. The term ikat, derived from a Malay-Indonesian word meaning “to tie,” describes both the intricate resist-dyeing technique and the resulting fabrics and patterns. This labor-intensive process involves carefully resist-dyeing bundles of warp threads to create the design before weaving, a method distinct from other fabric production techniques where patterns are woven in. In the 19th century, Central Asian ikat production involved a sophisticated network of artisans, often organized along ethnic lines, with Tajiks handling red and yellow dyes, Jews managing indigo dyeing, and Uzbeks conceptualizing the patterns and undertaking the weaving. While the ikat technique developed in various parts of the world, Uzbekistan’s silk ikats became particularly renowned for their stunning quality. The origins of ikat in Central Asia, specifically in cities like Bukhara and Samarkand, in the early 19th century remain somewhat mysterious, as its sudden appearance was marked by a high level of sophistication, suggesting unknown precedents. The Smithsonian’s Arthur M. Sackler Gallery’s exhibition, “To Dye For: Ikats From Central Asia,” highlights this cultural journey by displaying a collection of Oscar de la Renta’s ikat-inspired pieces alongside historical Central Asian ikats. De la Renta, after being captivated by these textiles following the collapse of the Soviet Union in 1991, visited Uzbekistan and commissioned local weavers. He subsequently incorporated ikat motifs into numerous collections for both Balmain and his eponymous label, a move credited with popularizing the trend in Western fashion and home decor, seen in brands from Anthropologie to Target. The exhibition, which includes pieces from 1997 to 2013 on loan from de la Renta’s estate and about 30 historical Central Asian ikats donated by Guido Goldman, aims to educate visitors about the textile’s origins and cultural context. Goldman, a Swiss-born academic, amassed one of the world's most significant collections of ikats, including flat tapestries and ceremonial coats and robes. These historical garments, worn by both men and women, symbolized wealth and status in Bukhara and Samarkand. The exhibition thoughtfully juxtaposes de la Renta’s designs with 19th-century ikat coats, making the Central Asian pieces more accessible and emphasizing the shared luxurious and valuable nature of both contemporary and historical examples. The vintage Uzbek coats, cut in wide, loose styles reminiscent of Ottoman kaftans, are striking for their elaborate patterns and vibrant colors, often lined with Russian cotton or Indian chintz. A late 19th-century woman’s robe, for instance, showcases bold red, yellow, and white diamond shapes, stylized flowers, and zigzags on a black background, with a vibrant lining. De la Renta’s pieces, such as a robe from his fall/winter 2000 collection featuring pomegranate shapes, often referenced traditional Uzbek motifs like fruits, flowers, and geometric patterns. He sometimes used actual ikat fabric and at other times replicated its distinctive blurry effect through other techniques like embroidery. Beyond clothing, the exhibition also features noteworthy wall hangings. Flat Uzbek ikats served both decorative and functional purposes, such as insulating house walls or covering bedding. These were typically made from several narrow, loom-width lengths of material sewn together, creating an additional design element. An ikat from mid-19th-century Samarkand illustrates this with its cascading floral forms created by staggered fabric swaths. While Oscar de la Renta's designs played a crucial role in bringing ikat to global prominence, the exhibition subtly underscores the importance of acknowledging the cultural and historical origins behind this now-ubiquitous style. It serves as a reminder that many familiar contemporary designs have roots in diverse cultural traditions, and understanding these origins enriches our appreciation of the art form. #IkatFabric #TextileArt #CentralAsianCulture #FashionHistory #InteriorDesign #OscarDeLaRenta #SmithsonianSacklerGallery #CulturalAppreciation

The Jil Sander flagship store on Avenue Montaigne in Paris has reopened, featuring a minimalist design that aims to create a welcoming and serene retail experience. Located in the architectural heart of the 8th arrondissement, the store's design emphasizes the clothing pieces by making them the central focus. The interior incorporates elements that pay homage to the surrounding neighborhood, with benches along the walls inviting guests to engage with the space. Natural light plays a crucial role in the store's ambiance, streaming in to highlight the inherent qualities of the ready-to-wear materials and connect with a sense of nature. The store's design, a collaboration between Jil Sander creative directors Lucie and Luke Meier and architect John Pawson, is characterized by its 'minimal extravagance.' The first floor is uniquely segmented, offering distinct sensory experiences within the same space. One section features walls finished with Calacatta marble and plaster, exuding a sense of refined elegance and a stark, clean aesthetic. Another section utilizes timber walls and cherry wood displays, introducing warmth and a natural texture that complements the brand's aesthetic. This division allows for an 'intra-discovery' element, encouraging guests to explore different facets of the Jil Sander universe. The overall retail ambiance is carefully curated to reflect the brand's core values of sophisticated minimalism and high-quality craftsmanship. By integrating architectural elements that are both inviting and luxurious, the flagship store transcends a typical retail environment, positioning itself as an immersive brand experience. The thoughtful selection of materials, the strategic use of light, and the structured yet flowing layout all contribute to an atmosphere that elevates the shopping experience. This re-opening marks a significant moment for Jil Sander, reinforcing its presence in a key fashion capital with a store design that embodies its contemporary vision while respecting its heritage of understated luxury. #JilSander #ParisFashion #FlagshipStore #RetailDesign #MinimalistArchitecture #LuxuryFashion #JohnPawson #InteriorDesign #AvenueMontaigne

Milan, a city traditionally characterized by its quick-stop cafes and limited casual office spaces, has welcomed an innovative concept: Tenoha. This establishment, the second international location for the Tokyo-based concept, integrates a shop, cafe, event venue, and co-working space. Situated in a 2500 sq m former wallpaper factory from the 1930s in Milan's Navigli neighborhood, Tenoha presents a unique blend of Japanese aesthetics and Italian design sensibilities. The interiors, crafted by Milan-based Park Associati, deviate from a direct replication of Tenoha's original Daikanyama location. Instead, the design team aimed to create a space that evokes a contemporary Tokyo as imagined through an Italian lens. This approach, which involved experimenting with the design, was well-received by owner Hiroshi Sato. Michele Rossi of Park Associati emphasized the goal of merging Milanese and Tokyo influences, resulting in visuals that reference the vibrant Daikanyama scene while utilizing materials deeply rooted in Italian design heritage. Key interior elements include cherry wood banquette seating, Horigotatsu-style booths, and a custom gridded lighting system. Notably, shōji screens are adorned with textiles from Milan-based Kvadrat, and the bar is clad in hexagonal kelp-green tiles by Botteganove, which complement the overall deep teal and orange color scheme. At the heart of the expansive space lies a classic Milanese courtyard, offering outdoor seating with bamboo and cherry blossoms—a welcome feature during favorable weather. Beyond its co-working and cafe functions, Tenoha features a shop along Via Vigevano that imports Japanese art gifts and homeware. This includes items like Toyo-Sasaki glassware, tokyobike cruisers, and Kobeha Keikaku stationery. The shop's prominent location and large windows ensure ample daylight and attract curious passersby. The cafe's menu, developed by Hideyuki Manaka of Tokyo's Da Fiore, offers a mix of traditional dishes like Tonkatsu pork cutlets and udon noodles, alongside more innovative options such as Caprese salad with tofu and yuzu Monkfish. While Italian wine is served, the cocktail selection leans towards Japanese influences. A glass wall demarcates the restaurant from the co-working areas, which are furnished with a tiered wooden platform and cushions. This flexible seating arrangement caters to the diverse working habits of Tenoha’s freelance clientele. The establishment is anticipated to draw a large number of designers and design enthusiasts, especially with events like Salone del Mobile, and is seen as a significant addition to Milan’s burgeoning landscape of innovative venues. #MilaneseCafe #JapaneseDesign #CoWorkingSpace #InteriorDesign #CrossCulturalDesign #NavigliNeighborhood #ParkAssociati #MilanLifestyle #ZenSpace

Jessica and Eliana, the duo behind J. Hargreaves Industry (JHi), discuss their creative journey, the genesis of their small business, and their vision for the future of independent artists. JHi is a women-owned and artist-run enterprise based in New York, specializing in one-of-a-kind jewelry, art, and soft furnishings that are deeply connected to the narratives of their larger fine art practices. One of their most significant projects, "Girls at the End of the World" (GATEOTW), intertwines themes of feminism, global warming, and political conflict. This collection seamlessly merges fine art with jewelry designs and printed furnishings, aiming to appeal to audiences interested in fine art, fashion, and interior design. Jessica explains that the project originated from sculptural paintings created during Donald Trump's first term as President, which depicted allegorical situations often inspired by old master history paintings. These narratives then evolved into hand-drawn toile-style prints for wallpaper and soft furnishings, such as curtains and cushions. From these prints emerged the concept for "The Aquanaut's Amulet," a diver's helmet pendant, with each jewelry piece serving as a wearable extension of the original drawings. The collection also includes smaller, collaborative 4x6-inch oil paintings on yupo, depicting women in green suits, symbolizing love and support among women amidst an allegorical catastrophe. The green suits, inspired by Jessica's fashion industry background, represent rebirth, and the futuristic material protects the figures from environmental elements. Eliana highlights their intention to present a collection that showcases the full range of Jessica’s creative abilities and storytelling, ensuring that no medium or audience is excluded. Both founders emphasize the importance of consumers connecting with the vision and ideas behind their products, as well as their materiality. Jessica Hargreaves, the founder, was born and raised in South London and holds a Bachelor's Degree in Fashion and Textile Design from Central Saint Martins, along with an MFA from The School of The Art Institute of Chicago. Her art practice consistently features narrative elements that allegorize personal and political emotions. Her love for fashion and adornment influences her installations, which initially appear decorative but reveal humorous, satirical, or disturbing elements. Inspired by vintage animal jewelry, she began wax carving in 2014, leading to jewelry that maintains a direct link to her painting, drawing, and sculpture. Eliana Shoffner, co-founder and Studio Manager, moved from Texas to New York City in 2019, pursuing a career in fashion. She earned a Master’s Degree in Fashion Studies from Parsons School of Design, where her research focused on the art of adornment and challenging the established art and fashion institutions. The genesis of JHi was serendipitous, as Jessica and Eliana met at Sephora in August 2023. Eliana was captivated by a ring Jessica had made, leading to a conversation about art, fashion, and their shared vision for a practice where both could coexist. After a month of planning, J. Hargreaves Industry officially launched in October 2024. Their mission is twofold: first, to establish a sustainable living through authentic and transparent creative processes, serving as a model for independent artists. Second, they aim to create "Some Other Future," an extension of JHi that will act as a selling platform for various multi-hyphenate artists, reallocating autonomy to those who haven't found their place in a single industry or medium. They believe society can support artists by encouraging consumption habits that favor small businesses and independent artists, promoting ethical production, and questioning conventional pricing. They advocate for using social media to discover and share works by independent artists, fostering a creative ecosystem that thrives from within. #JessicaEliana #JHi #ArtistRunBusiness #GirlsAtTheEndOfTheWorld #FeminismInArt #WearableArt #InteriorDesign #EthicalConsumption #IndependentArtists

Najd is a new textile collection, designed by architect and designer Tristan Auer for Lelièvre Paris, drawing inspiration from Saudi Arabian design. The collection's distinctive natural and earthy color palette is directly referenced from the Najd desert, which also provides the collection with its name. The creative process behind Najd involved Tristan Auer's deep dive into the traditional architecture of the central Saudi Arabian region, translating its colors and structural lines into textile designs. The Najd desert, characterized by its vast expanses of natural earth and clay hues, served as a primary muse. This inspiration manifests in the striking interplay of orthogonal architectural structures and the organic, flowing lines of the desert's endless dunes. This juxtaposition of structured forms and natural fluidity is a core theme throughout the collection. The Najd textile collection offers a variety of designs, incorporating both geometric patterns and diverse textured surfaces. These visual and tactile elements are designed to evoke the rugged yet refined aesthetic of the desert landscape and its historical built environment. The collection is fabricated using a range of materials, including cotton Jacquard, linen, and high-performance fabrics, catering to various applications and functional requirements while maintaining the collection's aesthetic integrity. The use of these materials ensures both durability and a luxurious feel, aligning with the brand's commitment to quality. This collection, available through Dezeen Showroom, is positioned as a sophisticated option for interior design professionals and enthusiasts seeking to incorporate elements of exotic, culturally rich aesthetics into contemporary spaces. The colorways, while natural and earthy, are presented in a manner that allows for versatility in different design schemes, from minimalist to more ornate settings. By offering a blend of traditional inspiration and modern material technology, the Najd collection aims to provide textiles that are both aesthetically compelling and practical for everyday use. Lelièvre Paris emphasizes that the collection not only captures the visual essence of the Najd region but also its spirit, making it more than just a decorative element but a narrative piece within an interior. The choice of Tristan Auer, known for his work in luxury interior design and architecture, underscores the collection's high-end appeal and its potential to elevate diverse living and commercial environments. The collaboration highlights a bridge between traditional cultural motifs and contemporary design sensibilities, resulting in a textile offering that is both timeless and relevant. #TextileCollection #TristanAuer #LelièvreParis #SaudiArabianDesign #EarthTones #GeometricPatterns #TexturedFabrics #InteriorDesign #HomeDecoration