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Chintz charming
The traditional floral pattern known as chintz is experiencing a modern revival, moving beyond its country-house origins to feature prominently in contemporary urban homes. This resurgence is driven by a new generation of designers, including stylists, ex-editors, landscapers, and decorators, who are creatively reinterpreting the classic print for modern sensibilities. The article highlights several key figures and their approaches to reinventing chintz.
Interior designer Flora Soames, known for her philosophy of "more is more," launched a collection of distinctive floral patterns, including a 15-color hand-blocked print of life-size dahlias. Soames observes that the renewed interest in chintz is partly fueled by a nostalgia for vintage textiles from eras like the 19th century and the 1980s, evoking memories of spaces adorned with Laura Ashley or William Morris prints. Her designs are now found in city kitchens and urban flat hallways, demonstrating the pattern's versatility.
Vanessa Barneby of Barneby Gates offers a strategy for making chintz location-neutral by using off-white backgrounds to maintain a fresh aesthetic. She also suggests replacing traditional red tones with hot pink highlights and incorporating more empty space within designs, departing from the all-over patterns of older chintzes. This approach helps to modernize the look while retaining its charm.
Interior designer Octavia Dickinson, recognized for her country/town crossover style, notes that her sophisticated urban clients are drawn to the rich colors of chintz fabrics. She advocates for a "more is more" philosophy in interiors, pointing to high-end London nightclubs like Annabel's and 5 Hertford Street as examples where every surface is covered. Dickinson recommends using multiple patterns of varying scales, such as large prints for curtains and smaller ones for wardrobe panels, balancing them with diverse textures and materials in urban settings.
Debby Tenquist, a landscape gardener and designer of botanically inspired textiles under Botanica Trading, views chintz as an enduring classic. She explains that the original Indian chintzes profoundly impacted Europe 400 years ago, captivating imaginations with their intricate designs and glowing colors. Tenquist has adapted classic chintz for modern tastes by using natural textured linen as a base cloth, increasing the scale of designs, and simplifying the color palette. She attributes chintz's popularity among younger clients to an unconscious desire to reconnect with nature, suggesting a societal shift away from the natural world.
Lulu Lytle, designer and founder of Soane Britain, is a passionate admirer of chintz, drawn to its exoticism, charming colors, and the tactile quality of heavily glazed cottons. While appreciating the rich, saturated colors of traditional chintzes, she acknowledges that they can be overwhelming for some. Therefore, Lytle has re-colored some of her favorite patterns to be more muted, using one or two colors instead of the wild multicolored originals. Her Dianthus Chintz, a simplified version of an 18th-century sarong print, was even recolored in five shades of blue for her husband's London bedroom.
Sophia Frances, a surface pattern designer and former fashion buyer, is a newcomer to the chintz scene. She launched her label at the London Design Fair, aiming to create designs with longevity in contrast to fast fashion. Her brand embraces "vintage-inspired maximalism," reinterpreting beautiful historical elements for contemporary spaces. Her playful and eccentric patterns include deconstructed chintzes like Sprig & Swirl and Cinnamon Swirl, which offer a fresh yet familiar feel. Her debut collection, No Wallflower, draws inspiration from overlooked women in British design, particularly Anna Maria Garthwaite, an 18th-century female textile designer from Spitalfields. Frances sees chintz as a symbol of female resilience and liberation, connecting her work to a historical legacy of pioneering women in design.
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