For This Italian Fabric Designer, Fantasy Comes in Patterns (Published 2013)

Liberty, traditionally known for its heritage floral textiles, has launched a new interiors and fashion fabrics collection named FuturLiberty. This collection, which debuted at Milan Design Week 2023, is deeply influenced by the early 20th-century art movements of Futurism and Vorticism, both of which celebrated the dynamic and rapidly evolving aspects of modern life. The creative direction for FuturLiberty was spearheaded by nonagenarian Italian designer Federico Forquet. His collaboration with Andrea Petochi, Liberty Fabrics’ managing director, began after the Covid pandemic, with Forquet challenging Liberty to look beyond its signature floral designs and explore how avant-garde artists responded to periods of crisis and social change. Forquet specifically pointed towards the Futurists, an Italian art group from the early 20th century known for their admiration of machines, industry, power, and speed, expressed through abstract and dynamic forms. Under Forquet’s guidance, Liberty’s fabrics and product team, led by design director Mary-Ann Dunkley, delved into Futurist paintings to develop new patterns. Dunkley highlighted Forquet’s emphasis on geometrics and the importance of rhythm in each design. The design process involved extensive research into Liberty's own archives, spanning over 50,000 historic designs. The team found inspiration in the 1960s collections of former Liberty design director Bernard Nevill, particularly his Tango and Jazz ranges, which were inspired by Vorticism—the British art movement that evolved from Futurism. This discovery provided a valuable historical connection for Liberty, aligning the new collection with the brand’s past while embracing an avant-garde aesthetic. After gathering a wealth of inspirational material, Dunkley’s team synthesized and adapted pictorial references to create repeatable fabric patterns. These patterns, characterized by a strong geometric language, were then applied to various fabrics in a diverse range of colorways. Forquet's emphasis on color and nature helped to infuse a playful quality into the designs, distinguishing them from the potentially more austere nature of their artistic inspirations. To further contextualize the FuturLiberty collection, Liberty is hosting two exhibitions in Milan. One exhibition, at Museo del Novecento, showcases the original Futurist and Vorticist artworks that inspired the collection, alongside some of the new FuturLiberty interiors fabrics, demonstrating the translation of artistic inspiration into design. The second exhibition, at Palazzo Morando, explores Liberty’s historical trajectory from the Arts and Crafts movement through Nevill's 1960s designs to the contemporary FuturLiberty collection. This exhibition prominently features the fashion fabrics of the new collection in an immersive installation. Both exhibitions were developed in collaboration with Ester Coen, a renowned art historian, who underscores the exhibitions’ aim to highlight the dialogue between Futurism and Vorticism and to show how FuturLiberty embodies the energy and commitment of avant-garde art towards a valuable future. In conjunction with Milan Design Week, Liberty is also launching a book about the FuturLiberty project, published by Thames & Hudson, which will delve deeper into the interplay between art and design. Andrea Petochi views this initiative as a return to Liberty's artistic roots, fostering a dialogue between society and creativity. As Liberty approaches its 150th anniversary in 2025, the FuturLiberty collection positions the brand as both an innovator and a disruptor, grounded in its rich tradition. #MilanDesignWeek2023 #Futurism #Vorticism #LibertyFabrics #FedericoForquet #TextileDesign #InteriorDesign #FashionFabrics #ArtAndDesign

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

Milan Design Week annually transforms the city's historic streets with a multitude of installations, performances, and interventions, captivating visitors with creative displays in shop windows and hidden courtyards. In recent years, fashion brands have increasingly participated, extending their design expertise to furniture, interiors, and architectural spaces. This integration showcases a growing trend of interdisciplinary collaboration between fashion and design industries. Among the highlights of Milan Design Week 2019, Marni's 'Moon Walk' installation draws inspiration from celestial themes, merging 'primitive fascinations with the imagination of the future.' This project features a collection of brightly colored chairs, loungers, stools, and tables crafted from innovative materials by Colombian artisans, with whom Marni has a long-standing collaboration. The designs reflect an exploration of unexplored forms and textures, bringing a unique artisanal touch to the event. Jil Sander's 'Adjacent Field' installation, a collaboration between creative directors Lucie and Luke Meier and artist Linda Tegg, emphasizes sustainability and spontaneity. The Jil Sander headquarters in Milan houses a botanical display comprising mosses, succulents, weeds, herbs, and flowers, illuminated by a sophisticated lighting design by Nic Burnham. This installation transforms the space into a natural oasis, highlighting the beauty and importance of biophilia in urban environments. COS, an early adopter of Milan Design Week participation since 2012, partnered with architect Arthur Mamou-Mani for 'Conifera.' This futuristic bower, constructed from 3D printed wood and bioplastic conical bricks, occupied the courtyard of the historic Palazzo Isimbardi. The project exemplifies the brand's commitment to innovative design and sustainable practices through the use of advanced manufacturing techniques and eco-friendly materials. Tod's No_Code Shelter, a joint effort between Tod's and architect Andrea Caputo, created a multi-room exhibition within a cavernous space adjacent to the National Museum of Science and Technology. Surrounded by reconstructions of Leonardo da Vinci's inventions, the installation delved into themes of shelter, sustainability, and safety in contemporary society, prompting reflection on modern living challenges and solutions. Miu Miu presented 'M/Matching Colourstool,' a playful collaboration with creative agency M/M Paris. This design features a perforated linden wood stool that allows for customization with over 300 colored 'matchsticks,' offering owners a personalized decorative experience. The stool debuted at Milan's Teatro Gerolamo, underscoring Miu Miu's vibrant aesthetic and engagement with artistic expression. Issey Miyake, on its third appearance at Milan Design Week, collaborated with architect Jólan van der Wiel for 'The Strange Attraction of Water.' The piece, 'Journey of a Raindrop,' integrates water and design to simulate a raindrop's journey through various elements, showcasing an understanding of the natural world and its influence on creative expression. This installation offers an immersive experience, blending natural phenomena with artistic interpretation. Finally, Raf Simons and Kvadrat continued their collaboration with 'No Man's Land,' an installation at Garage 21 that explores the 'microarchitecture of yarn.' The exhibit featured apocalyptically styled soft furnishings, a prefab house by Jean Prouvé, and catering from London's Rochelle Canteen. This project highlights the innovative use of textiles and examines the intersection of fashion, architecture, and interior design in creating conceptual spaces. #MilanDesignWeek #FashionInstallations #InteriorDesign #ArchitecturalSpaces #SustainableDesign #ArtisanCraftsmanship #Biophilia #3DPrinting #TextileInnovation #CustomizableFurniture

The article details an unexpected collaboration between interior designer Kerry Joyce and artist Marian McEvoy, sparked by a social media connection. Joyce, known for his interior design work, discovered McEvoy's intricate collages of natural elements on Instagram, specifically under the handle @gustthepoodle. Intrigued by her unique artistic style, Joyce researched McEvoy and learned about her prominent background as a former editor-in-chief of ELLE DECOR and House Beautiful, as well as an editor for Women’s Wear Daily and W. This discovery led to a personal visit to McEvoy's home and studio in Wappingers Falls, New York. During this visit, Joyce recognized the potential to translate McEvoy's distinct artistic vision into fabric designs. He expressed his admiration for her creative energy and his conviction that her designs would be ideal for textiles. The collaboration materialized into a collection featuring five black-and-white botanical watercolors by McEvoy, which were then printed onto linen in ten different colorways. The collection showcases various nature-inspired motifs, including dotted leaves, whimsical vines, and striped florals, all stemming from McEvoy's imaginative work. McEvoy shared her perspective on this new chapter in her career, attributing her refined sense of color, style, and quality to her extensive experience in the fashion industry, particularly her 17 years spent in Paris working with couturiers like Yves Saint Laurent. She expressed gratification at the current level of interest in her work, especially at 73 years old, and highlighted the positive experience of collaborating with someone who genuinely appreciates and acts upon her artistic contributions. The success of this initial collection has already paved the way for a second collaboration between Joyce and McEvoy, scheduled for 2022, underscoring the fruitful nature of their partnership. The story, originally published in the September 2021 issue of ELLE DECOR, exemplifies how digital connections can evolve into tangible and impactful creative endeavors within the design world. #FabricDesign #DesignCollaboration #InteriorDesign #MarianMcEvoy #KerryJoyce #SocialMediaInfluence #TextileArt #BotanicalPrints #ELLEDECOR

Margo Selby, a celebrated designer-weaver, has been at the forefront of innovative textile design for over a decade, distinguishing her work through the creation of colourful, three-dimensional fabrics that form the core of her vibrant cushions, throws, rugs, and various home accessories. Her signature style, characterized by strong graphics and intricate patterns, originates from her Kent studio, where she utilizes a 24-shaft dobby loom to develop her unique hand-woven textiles before they are put into production by specialized mills. Selby's artistic journey is deeply rooted in her family's tradition of textile craftsmanship, with her grandmother, Edith Selby, having taught her crocheting and cross-stitching. This early exposure to textile arts naturally led her to pursue a focus on textiles during her foundation studies at Chelsea College of Arts, where she also explored graphic design, sculpture, and three-dimensional design. Her formal education continued with an MA in woven textiles from the Royal College of Art, followed by a fellowship at The Ann Sutton Foundation. During her fellowship, Selby engaged in projects that included developing products for Shetland wool and designing dobby fabrics for the interiors fabric industry in Yorkshire, establishing her initial connections with industrial mills. It was through these experiences that Selby began to bridge her hand-woven concepts with industrial manufacturing processes, leading to the development of her brand's hallmark silk and Lycra fabrics. The inspiration for her innovative three-dimensional fabric concept stemmed from her fascination with surface and texture, particularly the desire to emulate the tactile quality of bubble wrap packaging using silk. This pursuit involved extensive research into different fibers that would shrink when exposed to heat, which she then wove in combination with silk to achieve the desired three-dimensional surfaces. Selby's design philosophy is intrinsically linked to the art of weaving, which serves as the primary source of inspiration for all her creations. Beyond her personal handloom work, she actively explores global trends in woven textiles, drawing stimulation from highly decorative designs rich in pattern and color. Recent collections reflect an appreciation for indigenous and tribal fabrics, including techniques such as Japanese dyeing and African prints. The design process for her fabrics begins with the careful planning of the warp, which forms the structural backbone of the fabric on the loom, allowing for experimentation with different structures and weft yarns until a satisfactory product is achieved. This methodical and contemplative approach allows the fabric to evolve one row at a time, providing ample opportunity for design refinement. Once a fabric design is perfected through numerous developmental warps, Selby explores its potential for industrial production, collaborating with mills. For her flooring collection, her woven patterns were adapted into carpet constructions, manufactured in the UK. Operating from an open-plan studio in Whitstable, Selby immerses herself in a creative environment filled with materials, yarns, and inspiring imagery. Her daily routine involves addressing emails and collaborating with her team before dedicating the majority of her day to weaving at her loom. Her collaborations extend to companies like Alternative Flooring, for which she developed wool carpet and runner designs inspired by her deflected double-weave hand-woven cloths. Selby sources yarns globally, with Japan and the US being notable for their vibrant hand-weaving communities, and emphasizes selecting the most skilled weavers for specific material types. The business, which began in her bedroom, has expanded significantly to a bustling textile studio employing eight full-time staff and additional piece workers in Whitstable, focusing on bespoke textiles for a diverse range of applications. The handloom and the traditional craft of weaving remain central to all her products. The current re-emergence of carpet and color in fashion presents an exciting opportunity for her designs, particularly the translation of soft silk and wool fabric designs into large-scale, recolored flooring options. Selby's future plans include developing interiors fabrics for sale by the meter and expanding her accessories range to include bedlinen and towels. #TextileDesign #MargoSelby #WovenTextiles #HandloomWeaving #ThreeDimensionalFabrics #InteriorDesign #HomeAccessories #Craftsmanship #IndustrialCollaboration

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

Rebecca Atwood, a fabric designer, discusses her new book, "Living with Color," which focuses on the challenges and joys of incorporating color into home decor. This book follows her previous work, "Living with Pattern." Atwood emphasizes that color is fundamental to design, influencing mood and reflecting personal style, and she aims to provide practical guidance for its use in homes. She addresses the common reluctance to use bold colors, often stemming from a fear of being stuck with a particular hue or growing tired of it. Atwood suggests that neutrals, while seemingly safe, can lead to a dull space if not approached creatively. Her book offers strategies for making neutrals interesting by exploring their undertones, such as pinker taupes or greener grays, to create a chromatic neutral palette. She advises looking to natural landscapes for inspiration on color palettes and proportions. For those new to integrating color, Atwood recommends starting with easily changeable items like fresh flowers, fruit bowls, pillowcases, napkins, or small decorative objects on a bookshelf. This approach allows for experimentation without a significant commitment. She highlights the significant impact color has on mood, explaining that different values of color—light, mid-tone, and dark—can evoke different feelings, from airy to cozy to moody. She encourages individuals to reflect on how colors personally affect them to tailor their environment accordingly. Atwood shares that her personal color palette is deeply rooted in the landscape of Cape Cod, where she grew up. This origin inspires her use of chromatic neutrals and her appreciation for tonal variations, which she incorporates into her fabric designs. She aims to create collections that are easy for customers to mix and match, both within her line and with other decor elements, fostering a sense of cohesion and harmony. The discussion also touches upon the timelessness of bold colors, citing historical examples such as Thomas Jefferson’s bright yellow dining room at Monticello and George Washington’s Prussian Blue room at Mount Vernon. These examples challenge the misconception that past interiors were always subdued in color, noting that the availability and colorfastness of pigments influenced historical perceptions. Atwood stresses that for bold colors to be timeless, quality is crucial, whether it pertains to paint, rugs, or furniture. Currently, Atwood expresses a particular fondness for various shades of green and gray-lilac, demonstrating her continuous engagement with color trends and personal preferences. #DecoratingWithColor #RebeccaAtwood #InteriorDesign #HomeDecor #ColorPsychology #FabricDesign #TimelessDesign #ChromaticNeutrals #DesignTips

This article explores a selection of new fabric launches designed to enhance home interior schemes. The right fabric, whether patterned or plain, can significantly influence the aesthetic of a room. The piece highlights eight distinct collections and designers, each bringing a unique approach to textile design. First, Haines, an online platform for salvaged fabrics, has collaborated with Gabby Deeming of Daydress to create a limited-edition collection. This collection features surplus textiles repurposed into fabrics and soft furnishings, characterized by pretty, ditsy floral patterns in fresh colorways, emphasizing sustainability and unique design. Next, London-based textile designer Beki Bright presents a range of hand screen-printed fabrics, cushions, lampshades, and wallpapers. Her designs draw inspiration from the English countryside of Suffolk, utilizing a signature palette of muted blues, pinks, soft peaches, and mustard yellows, reflecting a natural and serene aesthetic. Beata Heuman introduces a 'Jumbo Gingham' print, which pays tribute to traditional 18th-century Swedish checked textiles. This fabric offers a modest yet playful element, aiming to impart a homey feel to any interior without overwhelming the space. Sophia Frances showcases fabrics that blend traditional British textile heritage with contemporary twists. Her collection includes bold zigzags, painterly florals, large-scale stripes, subtle flowers, and delicate geometrical repeats, providing a versatile range for various design preferences. Zoe Glencross expands her style with the 'Aventura Collection,' inspired by her travels to Mallorca, Seville, Lisbon, and Porto. This collection incorporates Moorish mudejar and Portuguese azulejo patterning, with an earthy color palette of warm terracotta, pinky-beige tones, rich ochres, vibrant apple greens, and coastal blues, bringing a worldly and colorful dimension to interiors. Blithfield, known for its color-driven designs, launches the 'Bancroft Collection.' This collection combines historical references with a contemporary feel, featuring striking printed designs in signature colors. It includes new versions of Ikat Check, a printed stripe named Lambert, and two woven designs: the antique-inspired Jasper and the classic Bailey. Henry Prideaux, in collaboration with Christopher Farr, has re-imagined iconic designs from the Christopher Farr archives, including works by Michael Szell, Raoul Dufy, and Kit Kemp. The recolored fabrics are curated within a palette of terracotta and blue, aiming to infuse renewed sophistication and a modern quality into these classic prints. Finally, Susie Watson introduces 'Natasha,' an Uzbek-style fabric hand-printed on rustic linen. Inspired by the founder's travels, this heavyweight material is stonewashed to achieve a subtle, vintage effect. Available in 'Catkin,' 'Dusty Pink,' and 'Smokey Blue,' it is suitable for curtains and blinds, and can be accented with a pom-pom trim. The article also mentions Fermoie’s 'Circus' design, which features a repeating geometric pattern inspired by the movement of acrobats and jugglers. Fermoie emphasizes traditional printing methods on linen and cotton, using only natural pigments and colors. These launches collectively offer a wide array of choices for interior decorators, ranging from sustainable salvaged textiles and countryside-inspired prints to traditional patterns with contemporary twists and culturally rich designs, all aimed at enhancing the aesthetic and feel of a home. #FabricLaunches #InteriorDesign #HomeDecor #TextileDesign #PatternedFabrics #SustainableFabrics #DesignerFabrics #HomeTextiles #DecoratingTrends

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 highlights a resurgence in popularity for three traditional fabric and trim techniques: beadwork, fringe, and couching. These methods, which have rich historical and global roots, are currently being reinvented and incorporated into contemporary design, spanning fashion, furniture, and various home decor items. The trend emphasizes textural play and sculptural stitchwork, transforming fabrics into art-like elements. Designers are moving beyond conventional applications, embracing bold colors and playful patterns to infuse a whimsical yet sophisticated aesthetic into modern spaces. The revival of these techniques is noted for its ability to add unique, almost three-dimensional qualities to designs. Beadwork, an ancient technique, is making a significant comeback, appearing in diverse forms from sparkling accents to wooden beads. Its renewed presence is celebrated for its elegant and intriguing appeal, offering a glamorous upgrade to various items. Fringe, historically prominent in fashion, is now experiencing a notable moment in furnishings, evolving beyond simple embellishments to become a central design feature. Examples include poufs that integrate fringe with geometric patterns and bold colors, and lampshades that use silk fringe to create elegant accents. The versatility of fringe is also showcased in its application in classic, neutral tones, proving its adaptability to different stylistic preferences. Couching, another time-honored embroidery technique, is being elevated through luxurious applications. This method, where threads are laid on the fabric surface and fastened with smaller stitches, is seen combined with elements like pearl beads, creating sophisticated and opulent designs. The article emphasizes that these techniques are not merely repeating past trends but are being reinterpreted with a fresh perspective, making them relevant and exciting for current interiors and fashion. The movement is gaining traction, indicating a broader cultural shift towards appreciating detailed craftsmanship and unique textile artistry in design. Several products are presented as examples of these techniques, illustrating how they are being implemented in modern items such as beaded totes, fringed poufs, embroidered pillows, fringed lampshades, couched dresses, fringed sofas, beaded chairs, fringed placemats, and beaded sandals. #RetroFabricTechniques #HomeDecorTrends #Beadwork #FringeDesign #CouchingEmbroidery #TextileArtistry #InteriorDesign #FashionTrends

This article highlights various home decor and furniture pieces, emphasizing unique designs, craftsmanship, and the stories behind their creation. It features a reintroduction of the Lawrence Peabody chair from 1962, now custom-crafted in America from solid teak or wicker with high-density foam cushions and customizable fabric choices. Another piece is Shanan Campanaro's largest rug collection for Eskayel, inspired by Marrakech and the High Atlas Mountains. This collection includes the Kotoubia/Duomo rug, made from Merino wool and silk blend, hand-knotted with varied weave structures and pile heights. The article also presents a whimsical kitchen apron called 'Siberia' by Helen Wilson of Witch and Watchman, depicting a jungle of animals on a crimson Siberica leaf background, offering an eccentric take on chinoiserie. Pillows designed by Sigi Ahl are showcased, crafted from felt made from recycled clothing by Eileen Fisher, as part of Fisher's zero-waste initiative, which has seen over a million clothing items returned. Joana Aranha's Fingerprint Chaise Longue, made from Indian Acacia wood with an extra matte varnish and a linen-cotton blend upholstery, is also featured. Her pillows incorporate hand-sewn gold zippers and a trademark tassel with the 'flower of India' insignia, inspired by a red flower Aranha found in New Delhi. Adriana Hoyos' Rumba upholstered chair is described with its distinctive silhouette, pronounced curves, generous seat, and gold-finish metal studs on a wooden frame, combining comfort, craftsmanship, and design. The Francis desk, named after Hillary Petrie's father, is presented as a simple yet complex piece with intricate joinery, ideal for floating in a room. This custom version is crafted from natural Douglas fir with a clear water-based finish and saddle leather drawers, all made in Egg Collective's woodshop or in collaboration with New York City fabricators. Michael Wainwright's new artisanal dinnerware brand for Lenox, 'Crafted,' introduces the Pompeii collection, which features durable stoneware with charming blue-on-white patterns and gold accents, designed for playful layering and everyday use. The Margot Chest by Bruce Andrews is highlighted for its dazzling emerald green, piano-ribbed front, and silver leaf-covered solid maple base with contoured legs. Handcrafted in America, this piece measures 40 3/4 inches wide, 18 3/4 inches deep, and 44 inches tall from its 12-inch leg. Aoife Mullane's textiles feature foiling on fabric, drawing inspiration from sea glass and pebbles, incorporating glamorous metallic touches in bronze, copper, and silver. Michele Varian's lighting designs are noted for their use of solid, unplated metals like brass, copper, or steel, with sculptural Mala 'bead' pendants inspired by Constantin Brancusi and modern primitive design, which will naturally patina over time. Alexandra Petrache's HALFDROP textile collection, specifically the Layers Yellow pattern, is shown, inspired by antique Romanian rag rugs. This reinterpretation features bold, organically layered patterns in mustard yellow and complementary grays, with hand-drawn lines enhancing fluidity. These 20-inch pillows are made of 100 percent cotton. The Lake Shore Watercolor Console from John Strauss Furniture is presented as a piece of art, featuring a watercolor by Tracy Hiner digitally printed and applied as a veneer to the doors, protected by an acrylic coating. The console has a satin sheen navy lacquer finish, stainless steel legs, and touch-latch doors with adjustable shelves. Lastly, Stacy Kunstel's Chunky Captain Compass Table, designed with Michael Partenio, features a massive turned maple base painted in a glossy custom Benjamin Moore color, Blueberry Hill, and topped with a 48-inch white-honed Carrara marble. Maggie Cruz’s Alexandra Cane Bench, influenced by her Cuban heritage and Miami, showcases Art Deco styling in a coral dust finish with white-washed cane and optic white linen upholstery. #HomeDecor #FurnitureDesign #InteriorStyling #TextileDesign #ArtisanCraftsmanship #SustainableDesign #ModernPrimitiveDesign #ArtDeco

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

This article explores the growing trend of utilizing textiles and rugs as wall art in interior spaces, moving beyond their traditional floor-bound roles. The increasing demand for warmth, texture, and unique decorative elements in homes and commercial settings has led to a re-evaluation of textiles' aesthetic and functional potential. Designers and homeowners are becoming more open to incorporating fabric-based pieces, such as wall hangings, art rugs, and woven structures, to enrich interiors. Several factors contribute to this resurgence. Historically, textiles like tapestries have adorned grand interiors for centuries, offering both aesthetic beauty and practical benefits. Modern interpretations build on this legacy, with contemporary textile artists gaining international recognition. For instance, American fiber artist Sheila Hicks has significantly influenced the art world, while Danish weaver Grethe Sørensen and Finnish designer Kustaa Saksi have garnered acclaim for their digital tapestries and vibrant wall hangings, respectively. These artists demonstrate the evolving artistic scope and appeal of textile art. The shift is also fueled by a broader appreciation for handmade goods and craft. Artists like Milla Novo and Windy Chien create macramé-esque wall art using rope, presenting a modern, sophisticated alternative to traditional framed art. Portuguese textile artist Vanessa Barragão's work, which often highlights environmental themes like the plight of coral reefs, connects deeply with clients seeking meaningful and visually compelling pieces for their homes. This artisanal approach adds a unique, personal touch that mass-produced decorations often lack. Furthermore, interior design trends have emphasized 'global' aesthetics and diverse 'textures,' encouraging the incorporation of rugs and textiles with traditional patterns and designs. Designers are creatively layering antique kilims with cushions and ethnic poufs, as seen in Cynthia Spence's work for the San Francisco Decorator Showcase. The redevelopment of London's BBC TV Centre, featuring dhurries and wall hangings by Vanderhurd in communal areas, further exemplifies this trend in contemporary residential and commercial projects. Beyond mere decoration, textiles are increasingly used to define and soften architectural spaces. Samira Boon's woven 'Archi Folds' structures, Hey-Sign's felt 'Flow' room division systems, and Studiopepe's wall hangings by cc-tapis all showcase textiles' capacity to influence spatial dynamics and acoustics. Finnish design duo Kivistö Leppisaari's 'Knit Divisions' exemplify this, creating spatial dividers from knitted fabrics and wooden frames. This integration highlights the functional versatility of textiles in modern interior design. The prevalence of this trend is evident on social media platforms like Instagram, where contemporary interiors frequently feature Beni Ourain or other tribal vintage rugs displayed on walls rather than floors. This signifies a return to older traditions, particularly in countries like Finland, where hanging rugs on walls has historical roots. Additionally, art rugs, such as those from Gothenburg’s Henzel Studio, designed by international artists like Jack Pierson or Tom of Finland, are increasingly chosen as wall-mounted artworks. Trend forecaster Lidewij Edelkoort's prediction that "Textiles will govern the century" underscores the growing importance of textiles in shaping our environments, offering comfort, decoration, art, and storytelling. #TextileArt #WallDecor #InteriorDesignTrends #HandmadeTextiles #FiberArt #HomeDecoration #ArtRugs #ContemporaryDesign #ArchitecturalTextiles

The article explores the growing trend of incorporating soft textures and textiles into home interiors to create more comfortable, cosy, and tactile spaces. This movement is seen as a response to the dominance of digital technology, the anxieties of modern life, and a desire to make homes feel like sanctuaries. The shift towards soft textures builds upon earlier interior design trends, such as the resurgence of wallpaper two decades ago and the preference for moodier paint colours, both aimed at creating cosier environments. Today, designers are increasingly utilizing textiles for walls, floors, and furniture, moving beyond mere decorative elements to provide cushioning and a sense of luxury. These contemporary textile designs often feature natural, plant-based fibres like bamboo, jute, coconut waste, and even vegetable waste, emphasizing warmth and sustainability. Designers employ a mix of traditional techniques like embroidery and modern digital technology to achieve diverse textures, from matt to glossy finishes. The use of sustainable materials and dyeing methods also reflects a growing environmental consciousness within the design community. A key advantage of textiles is their adaptability; unlike rigid fixtures, they can be easily repositioned and layered for enhanced comfort. The Covid-19 pandemic significantly boosted sales of throws, cushions, and rugs, as people sought to make their homes more comfortable during lockdown. Charlotte Bastholm Skjold of Kvadrat highlights that textiles counterbalance the pervasive influence of technology by engaging the sense of touch, providing a human quality to spaces dominated by screens. Historically, textiles have played a similar role, with tapestries in medieval times offering portability and insulation, much like modern textiles provide warmth and softness. Textile artist Alan Oliver notes that wall-hangings and rugs evoke feelings of comfort and safety, fulfilling a deep-seated desire to 'nest.' He also points out the perceived impermanence of textiles, which encourages bolder design choices compared to permanent artworks or furniture. Prominent designers like Sarah Campbell, known for her hand-painted fabrics, emphasize how textiles enliven spaces by reflecting light and showcasing human artistry. Her work, along with that of other textile artists, is currently being exhibited, indicating a vibrant market for craft-based textiles. A younger generation of textile designers is also contributing to this trend, with events like London Craft Week highlighting the renewed interest in this craft, particularly for wall-hangings. Artists such as Singaporean weaver Tiffany Loy explore sculptural and three-dimensional textiles that offer translucency, sound absorption, and flexible space division. Ekta Kaul creates bespoke, hand-embroidered maps, drawing inspiration from historical and personal narratives. The appreciation for large-scale textiles has been influenced by exhibitions featuring artists like Anni Albers and the quilts of Gee's Bend. Claire Coles's silk wallpapers, incorporating appliquéd floral motifs, exemplify the demand for textured, non-repeating wall coverings. The trend also includes a preference for rugged, raw-looking textures, as seen in the large-scale tapestries by Crossing Threads, which use unconventional materials like coconut husk and discarded denim. Aiveen Daly's monumental upholstered panels, with their soothing monochrome colours and layered suede, are designed to evoke peace and tranquility, underscoring the role of textiles in making homes feel like sanctuaries in an anxious world. #SoftTextures #HomeDecor #InteriorDesign #TextileArt #CosySpaces #SustainableMaterials #Craftsmanship #TactileAesthetics #ComfortZone

Pattern drenching is an interior design trend that involves the immersive use of prints, patterns, and textures across multiple surfaces within a space. This approach allows homeowners to infuse personality, depth, and drama into their interiors, creating a curated and intentional aesthetic. The trend focuses on layering various elements such as wallpaper, upholstery, soft furnishings, and rugs to achieve a harmonious and cohesive look, embracing maximalism without resulting in chaos or clutter. It builds upon the popularity of colour drenching and plays with scale, texture, and colour extensively. At its core, pattern drenching is a personality-driven design concept that blends maximalism with an appreciation for prints and textures. This includes incorporating patterned wallpapers, textured rugs, vibrant murals, and printed cushions to add warmth and dynamism, giving a space a unique character. Interior designers emphasize that pattern drenching is about confidence, immersing a space completely in patterns that flow seamlessly across walls, upholstery, and decor. Unlike traditional methods where patterns serve as mere accents, this technique aims to create a layered and visually rich experience. Patterns are seen as powerful tools that can define a space, evoke emotions, and establish a distinct identity, essentially telling a story through their heritage, craftsmanship, and emotional resonance. The goal is to make a home reflect the personalities of its inhabitants, transforming it into an immersive, expressive, and sophisticated experience. Several strategies can be employed to effectively layer prints and patterns throughout a home. Starting with the foyer, a vibrant wallpaper or a bold runner can create an inviting entrance, while fabric panelling, geometric runners, sculptural consoles, and stone inlay flooring can add artistic touches. In the living room, a single pattern can be applied across wallpaper, curtains, and upholstery, with subtle variations introduced through cushions or rugs for added depth. Neutral furniture and metallic accents can balance the boldness, providing an elegant finish. A mix of patterns on textiles like upholstery, drapes, and cushions is also effective, provided some elements remain neutral. The key is to layer patterns of different scales, ensuring they complement rather than compete with each other. Even dining areas can incorporate patterns subtly through upholstered chairs, ceramics, or woven table runners. For bedrooms, a more understated approach is recommended, using printed bedding, striking curtains, or an accent wall with wallpaper to enrich the room while maintaining a calm and visually appealing atmosphere. Options include textured headboards extending to the ceiling, tone-on-tone wallpaper, handcrafted rugs, and dual-layer drapes with contrasting prints. Powder rooms offer an opportunity for bold decorative tiles complemented by functional fixtures, with tiled murals, fluted or patterned stone bases, statement sinks, sculptural lights, and backlit mirrors creating a stylish effect. Floral shower curtains and towels can further enhance the patterned look. Critical to successful pattern drenching is adhering to a cohesive colour palette to ensure visual harmony. Mixing patterns of varying scales is essential, pairing bold, large prints with finer, intricate designs to create depth without overwhelming the space. Incorporating neutral or solid-coloured elements helps break the intensity and provides balance. Lighting also plays a significant role, as patterns appear differently under natural and artificial light throughout the day. Mindful layering, starting with a dominant pattern and building around it by pulling colours and motifs, is advised. Mixing textures such as embroideries, woven materials, and painted surfaces adds depth without visual overload. Geometric play, combining organic and structured patterns, creates a harmonious rhythm. For those preferring a more subdued aesthetic, muted maximalism involves using toned-down versions of vibrant prints. Solid-coloured trims, borders, or panelling can further break the intensity of patterns, and monochromatic schemes can offer a chic and sophisticated approach. #PatternDrenching #InteriorDesign #HomeDecor #Maximalism #DesignTrends #TextileDesign #HomeStyling #ArchitecturalDesign