Installation Inspired by Nigerian Parables & Fabric

In Lagos, Nigeria, PatrickWaheed Design Consulting (PWDC), co-led by Adeyemo Shokunbi, is spearheading a movement to integrate local materials into contemporary architectural practices, aiming to establish a distinctive Nigerian architectural language. Their focus has been on laterite, a readily available local resource, which they have developed into a modern finishing technique. PWDC's investigations extend beyond surface aesthetics, exploring laterite's potential as a natural dye and its thermal properties to enhance building performance. The firm's work with laterite in projects like the Mad House and Abijo Mosque in Lagos has been instrumental in showcasing the material's versatility and aesthetic appeal. Adeyemo Shokunbi emphasizes the importance of exploring traditional knowledge and materials to create architecture that is not only sustainable but also culturally resonant. The use of laterite aligns with principles of environmental sustainability by reducing the carbon footprint associated with transporting imported materials and supporting local economies. The aesthetic quality of laterite, with its earthy tones and varied textures, offers a unique visual identity that connects buildings to their geographical context. Beyond laterite, PWDC is actively researching other indigenous materials, aiming to revive and adapt them for modern construction. This approach involves a deep understanding of the material's properties, traditional application methods, and innovative techniques for contemporary use. The firm's commitment to material research and development is crucial in an era where globalized architectural styles often overshadow local traditions and resources. By reintroducing local materials, PWDC seeks to foster a sense of place and identity in Nigerian architecture, challenging the reliance on imported materials and their associated environmental and economic costs. The adoption of local materials also presents economic advantages, as it can reduce construction costs and create local employment opportunities. This model of architectural practice promotes a circular economy, where resources are sourced locally, processed, and utilized, minimizing waste and maximizing community benefit. PWDC’s efforts serve as a case study for how architectural design can be a powerful tool for cultural preservation, environmental stewardship, and economic development, offering valuable lessons for architects and designers globally who are seeking sustainable and contextually appropriate solutions. #LocalMaterials #Nigeria #Finishes #WestAfrica #ArchitecturalLanguage #Textures #ContemporaryArchitecture #Laterite #Tyrolean #PatrickWaheedDesignConsulting #AdeyemoShokunbi #BuildingMaterials #TraditionalMaterials

Bernhardt Design has unveiled its 'Duality' collection, a collaboration with British-Ghanaian designer Chrissa Amuah, featuring a series of upholstery textiles. This collection includes six distinct patterns and 56 colorways, all deeply inspired by Amuah's Ghanaian heritage. Her design vision is rooted in the rich symbolism, textures, colors, and traditional patterns observed during her trips to Ghana, where these symbols are intricately woven into everyday life, from jewelry to architecture. Amuah's objective was to create a contemporary and aesthetically pleasing design blueprint that also carries profound, empowering messages, whether consciously or subconsciously communicated. The 'Duality' collection comprises six main designs. One prominent pattern is 'Aya,' which draws inspiration from the West African Adinkra symbol for fern. Amuah explains that the fern symbolizes endurance and resourcefulness, conveying a message of hope. She created this pattern using a super-fine chenille yarn that floats above the abstracted fern symbols, achieving an overlay effect. 'Aya' is designed to be paired with 'Still,' a monochromatic textured fabric available in 18 rich colors, allowing for versatile combinations. Another innovative design is 'Ink,' which Amuah developed by drizzling ink onto walnut veneer, allowing it to bleed into the wood grain. This process resulted in unique, abstract patterns with limited designer control, emphasizing the organic spread of the ink to form distinctive lines. These abstract patterns were then replicated on thick, textured chenille and produced in four different hues. 'Ink' is envisioned to complement 'Snug,' a textured bouclé fabric, offering a harmonious blend of patterns and textures. The collection further incorporates Ghanaian inspiration with the 'Sella' textile, named after the Latin word for 'stool.' This design pays homage to Ghana’s traditional asesegua seat, which has a long history and various forms, from common wooden stools to elaborate royal versions. Amuah hand-sketched the fabric's design, abstractly interpreting the familiar shapes of the asesegua. The final material in the collection is 'Touch,' a finely textured fabric crafted from two complementary yarns in contrasting shades, which creates a fine pattern with notable vibrancy and depth. Beyond patterns, Amuah also meticulously explored the symbolic meanings of colors in the collection's palette. She emphasizes that colors function as visual indicators that work in conjunction with patterns to form a complete narrative. The interpretation of color meanings can vary based on context, such as the intended message, occasion, status, or even age. Jerry Helling, president of Bernhardt Design, praises Amuah's artistry, highlighting her ability to transform deeply personal ideas into accessible and sophisticated design forms, abstracting her inspirations into modern and beautiful fabrics. The 'Duality' collection stands as a testament to the seamless integration of rich cultural heritage with contemporary design principles. #UpholsteryTextiles #GhanaianHeritage #BernhardtDesign #ChrissaAmuah #TextileDesign #InteriorDesign #CulturalInspiration #AdinkraSymbols #AfricanDesign

Giles Nartey, a British-Ghanian architect and designer, integrates his academic pursuits with his design practice, focusing on translating African rituals into contemporary design objects. His work, showcased as part of Wallpaper*'s Future Icons series, aims to celebrate Black identity and traditions, moving between art, film, and architecture. Nartey was born in South London but spent his early life in Accra, Ghana, where the informal architecture and everyday practices of places like Labadi profoundly influenced his design philosophy. He cites observations like handwashing rituals before meals and the use of the Asanka (a traditional grinding bowl) as continuous inspirations for his London-based practice. Nartey's academic background includes studies at Politecnico di Milano and the Bartlett School of Architecture. He currently lectures at University College London and co-runs a diploma unit at the Architectural Association. This combination of teaching, research, and practice allows him to push boundaries in his work, using academia as a testing ground for his design concepts. His doctoral research into African ontologies directly informs pieces like 'Interplay,' a communal bench first exhibited at POoR’s Powershift exhibition at the London Design Festival in 2023. 'Interplay' is a striking piece of furniture that rethinks seating as a shared surface, featuring engraved and overlapped narratives. It draws inspiration from traditional West African Senufo carved bed-benches, which are typically made from a single piece of timber. The bench also incorporates the Ghanaian game 'Oware,' encouraging performative interaction. Nartey explains that historically, African objects have often been miscategorized as inanimate artifacts, despite many being integral to spiritual or domestic rituals and practices, both in their creation and use. He believes his work helps correct this misperception by highlighting the embedded meaning and function within these objects. One of Nartey's significant career moments was exhibiting 'Interplay' at the Victoria and Albert Museum for the Friday Late: Radical Imaginaries. This was particularly meaningful for him as the V&A held personal significance, having been a place his mother took him and his sisters during their childhood. The exhibition allowed him to present a piece deeply connected to his heritage and shared family memories within a prestigious institution. Following 'Interplay,' Nartey created 'Serwaa,' a sleek six-legged aluminum stool. This piece is a contemporary interpretation of the West African Lobi chair, a sculptural object that resonates with spirituality in regions spanning present-day Burkina Faso, Cote D'Ivoire, and Ghana. Nartey's future endeavors include architectural interventions in Accra, where he plans to reimagine food kiosks, market spaces, and street-level produce selling methods. His overarching goal is to present African design not as a historical relic but as a dynamic, contemporary language deeply rooted in the practices that fostered its creation. By grounding his designs in traditional West African culture and utilizing academia as a foundation, Giles Nartey is contributing to a broader understanding and appreciation of African design within the global design canon. #GilesNartey #AfricanDesign #ContemporaryDesign #CulturalHeritage #DesignResearch #ArchitecturalInterventions #FutureIcons #GhanaianCulture #VictoriaAndAlbertMuseum

Yinka Ilori, a 34-year-old Nigerian-British artist and designer, integrates vibrant colors and energetic shapes into his diverse projects, ranging from architectural installations to furniture and housewares. His early exposure to "color blocking" within London's multicultural immigrant communities profoundly influenced his artistic vision. Ilori's work aims to evoke euphoria and foster connection by merging the rich sensory experiences of his Nigerian heritage with a distinctive, thought-provoking aesthetic. He transforms public spaces, such as creating a carnivalesque installation at London's Somerset House or re-imagining a drab underpass with rainbow tones, to bring joy and vibrancy to urban environments. One of Ilori's notable projects is the "Colour Palace," part of the 2019 London Festival of Architecture. This contemporary wooden structure, inspired by Lagos's Balogun fabric market, featured brilliantly colored geometric forms that interlocked and shifted, reflecting both his heritage and London's multiculturalism. In 2015, his "If Chairs Could Talk" series involved painting discarded street chairs in bold colors, transforming them into symbolic thrones. This project drew on the inherent power of chairs to convey status and the resourceful, sustainable practices observed in his parents' village in Nigeria, where everyday objects are ingeniously repurposed. More recently, Ilori designed "Creative Courts," a Technicolor basketball court situated amidst the skyscrapers of Canary Wharf, a major financial district in London. This location holds personal significance for Ilori, who visited it as a child when his parents worked there as cleaners. He recalled the area feeling "alien and uninviting" due to its imposing architecture and perceived wealth, a stark contrast to his childhood home. His aim with the court, adorned in orange, yellow, lime green, purple, and bright pink, was to challenge the area's glass-and-steel uniformity and empower the community to "reclaim a sense of space." He expressed immense joy in witnessing children play on the court and feel a sense of belonging. Ilori's artistic journey began with a strong visual awareness instilled by his mother, which led him to study furniture and product design at London Metropolitan University. He found inspiration in artists like Yinka Shonibare, Salvador Dalí, and Francis Bacon. After working in retail for several years, he made the pivotal decision to pursue design full-time after his furniture was selected for a showcase at Design Miami. His dedication has garnered significant recognition, including an MBE award from the Queen for his contributions to the field. Ilori currently leads a team of designers in northwest London, working on various projects, including a new furniture collection, a playground for an east London housing estate, and public art commissions for London’s "Asphalt Art" program. These large-scale murals aim to revitalize areas impacted by the pandemic and celebrate a return to public life. Ilori views his work as a "spiritual revival," generating warmth, delight, and optimism to positively influence societal moods. #YinkaIlori #ArtAndDesign #PublicSpaces #UrbanInterventions #NigerianHeritage #LondonArchitecture #ColorBlocking #FurnitureDesign #CommunityEngagement

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

American artist, educator, and messenger Nick Cave has introduced a new collection of home fabrics and wallcoverings in collaboration with Knoll Textiles. This collection, which showcases Cave’s distinctive artistic vision, translates the essence of his renowned artworks into tangible textile forms. The collaboration is a significant milestone, marking Knoll Textiles' first partnership with an artist. It comes after a busy period for Cave, including a career-spanning survey exhibition titled 'Forothermore' at the Museum of Contemporary Art Chicago, which will later travel to the Guggenheim in New York. This exhibition features new additions to his iconic 'Soundsuits' series and rarely seen early works, emphasizing his commitment to creating spaces for marginalized communities. Cave's work consistently challenges traditional art boundaries, as evidenced by his monumental mosaics in Manhattan's subway stations—'Each One', 'Equal All', and the earlier 'Every One'—which collectively form his largest permanent public artwork to date. These mosaics, inspired by visual themes from his 'Soundsuits', demonstrate his dedication to public engagement and social commentary. The collaboration with Knoll Textiles emerged from this period of intense creative output, reflecting Cave's long-standing connection to textiles, tracing back to his graduate studies at Cranbrook Academy of Art where he was influenced by Knoll's historical designs and the Arts and Crafts movement. The Knoll Textiles collection, developed in close dialogue with Cave and his partner Bob Faust, features ten ambitious designs, including four upholsteries, three draperies, and three wallcoverings. Each design meticulously captures the dimension, color, and movement inherent in Cave's original pieces. For instance, the 'Until' drapery is an airy, web-like textile inspired by an installation of the same name, created by embroidering on a water-soluble ground. The 'Buttons' drapery is a photorealist digital print that mimics the hand-beaded buttons found in his 'Soundsuits', achieving an ombré effect. Another drapery, 'Heard', draws inspiration from a fringed 'Soundsuit', with individually sewn ribbons that echo Cave's handcrafted approach. The upholstery fabrics are equally innovative. 'Guise' combines knitted, space-dyed, and chenille yarns to replicate the intricate top layer of his beaded 'Soundsuits'. 'Vert' is a variegated design based on the 'Architectural Forest' installation, capturing the perfectly imperfect qualities often seen in his work. 'Puff' is a cozy faux shearling, available in 13 colors inspired by a rainbow fur 'Soundsuit'. The 'Doily' upholstery fabric utilizes two techniques to create a multidimensional effect, reflecting the tactile nature Cave desires in his creations. The wallcoverings include 'Wire', a digitally printed fur pattern; 'Forest', a vertically dynamic design also inspired by 'Architectural Forest'; and 'Big Floral', which recreates antique beaded flower patterns from a 'Soundsuit' on a larger scale. These wallcoverings are available in vibrant and grayscale tones, offering both aesthetic appeal and a tactile experience. Beyond their design, these textiles carry a profound significance, serving as representations of original artworks that advocate for social justice. Cave emphasizes the collective nature of his work, highlighting its purpose in fostering reflection, mourning, and finding calm amidst turmoil, ultimately striving for accountability and hope. #NickCave #KnollTextiles #TextileDesign #HomeFabrics #Wallcoverings #ArtCollaboration #Soundsuits #SocialJustice

This article details the journey of Amy and Bruce Paul in designing and decorating their 11,000-square-foot home in Rye, New York, focusing on integrating their extensive art collection into a cohesive interior design. Having previously lived in a post-modern home with traditional furnishings and a growing contemporary art collection, the Pauls sought to create a new residence where the exterior architecture and interior aesthetics were harmoniously aligned with their personal taste in design and art. Their objective was to construct a home that could comfortably accommodate their family of six while optimally showcasing their practiced and perfected collection of paintings and sculptures. The couple acquired a 13-acre estate in Rye before the 2001 World Trade Center attacks, subdividing it into seven lots and reserving a two-plus-acre parcel for their own home. They collaborated with builder Michael DiChiaro to construct a six-bedroom, seven-full-bath residence that offers views of a wooded yard, later enhanced with a pool and waterfall by Coral Sea Pools, and adorned with bronze sculptures by Mexican artist Bruno Luna. For the interior design, Amy Paul enlisted Joseph R. Stabile of J.R. Cattington, who had previously worked with them. Stabile and his team were involved from the ground up, providing input on architectural design, interior finishes, electrical layouts, and lighting selection. Stabile chose a palette of cream and gold to complement the Pauls' artwork and suggested structural modifications, such as adding a doorway to improve flow in the formal living room. Amy's primary design directive was for a "light and bright" home, which was achieved in the living room through buttery gold satin-striped fabric from Robert Allen for window treatments and crystal wall sconces by Crystorama. This room serves as a gallery for various notable paintings, including works by Janet Treby, Liane Abrieu, and Russian artists. The soft color scheme is accented by silk brocade wing chairs with colorful throw pillows and fuchsia and silk rugs from China. The family room continues the luminous theme with yellow walls, a toile pattern by Antonia Vella, Seabrook wallcoverings, and similarly colored fabrics in lemon, green, and persimmon for window treatments, pillows, and side chairs. Crystal chandeliers from Murano, imported by Castilian Imports, were chosen to coordinate with paintings by Isaac Maimon and Charles Levier. The coffered ceiling in a green apple shade with cream-colored woodwork further enhances the vibrant, garden-like atmosphere. Bruce Paul's personal space, a clubby card room, contrasts with Amy's preferences, featuring dark wood paneling, built-in bookcases, a bar, and masculine fabrics. This room, separated from the family room by a stone-front fireplace, includes Biedermeier chairs with leopard-print fabric and various personal artifacts. Stabile designed the fireplace with intricately carved mahogany lions and used a Serengeti Leopard carpet to connect Bruce’s adjoining office. The Pauls' children, Joanna, Ryan, Matt, and Jason, also contributed to the design of their respective bedrooms and bathrooms, incorporating elements such as Masland Carpets, Bernhardt furnishings, and Thibaut wallpapers. The master bedroom, with its vaulted ceiling, presented a challenge in scale, addressed by Stabile using Highland Court silk brocade for a cornice "headboard" that coordinates with custom curtains. The article highlights the Pauls' passion for art collection, which began with a French artist Charles Levier painting and expanded to include works from their travels to Europe, South America, Asia, and the Southwest. Despite concerns about diminishing wall space, their quest for art, driven by personal connection and memories from their travels, continues. #HomeDesign #InteriorDecor #ArtCollection #LuxuryHome #RyeResidence #JosephStabile #CustomDesign #ArchitecturalFeatures #PersonalStyle

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 Zangbeto Side Table, designed by Salù Iwadi Studio, draws inspiration from the Zangbeto masquerade of the Ogu (Egùn) people in southwestern Nigeria. This wooden furniture piece translates the conical shape of the traditional Zangbeto costumes into a functional and aesthetically engaging side table. The design employs a structured composition of layered wooden fins, arranged radially in a spiraling configuration, which aims to capture the essence of the masquerade's spinning dances while ensuring the table's stability. The intricate arrangement of these fins is crafted to evoke the centrifugal energy and hypnotic motion characteristic of the Zangbeto performances. This creates an illusion of perpetual rotation, imbuing the static object with a dynamic, kinetic energy. The fins are meticulously hand-carved and taper upwards, balancing structural integrity with visual lightness. This tapering design not only mirrors the ascending movement of the Zangbeto dances but also creates an optical effect that suggests the table is levitating. Furthermore, the angular configuration of the fins allows the side table to serve a dual purpose as a bookshelf, providing support for books. The design incorporates negative space between the fins, which further contributes to the floating appearance and allows light to filter through, casting dynamic shadows that mimic the movement of the masquerade. The tabletop features carved spiral ridges that emanate outwards from the center. These concentric patterns symbolize the energy pathways and vibrations generated during the Zangbeto's ceremonial performances, and they also evoke the cosmic flow of energy and life, reinforcing themes of interconnectedness and cyclical renewal. This detail invites tactile interaction, allowing users to experience the narrative through touch as well as sight. The surface of the table exhibits alternating matte and polished finishes, which reflect the interplay of light and shadow observed during Zangbeto ceremonies. This contrast adds a dynamic visual texture, reminiscent of how light interacts with the raffia costumes during the ritual. The natural wood grain is prominently displayed, grounding the piece in its materiality and emphasizing its organic connection to the earth and its cultural roots. Salù Iwadi Studio prioritizes sustainability in the table's construction, utilizing sustainably sourced wood. This choice underscores the material's inherent beauty and aligns with traditional African practices that emphasize environmental harmony. The hand-carved details throughout the fins and tabletop demonstrate meticulous craftsmanship, honoring the intricate artistry and spiritual significance of the Zangbeto costumes. The layering and radial arrangement of the fins represent a modern reinterpretation of traditional construction methods, merging heritage with contemporary innovation. Ultimately, the Zangbeto Side Table serves as more than just a piece of furniture; it is an object that encourages engagement with cultural narratives. It celebrates and honors the Zangbeto as a cultural guardian, while also showcasing design's potential as a medium for storytelling, education, and cultural preservation. Through its thoughtful design and rich symbolism, the table invites an exploration of the interconnectedness of life, culture, and art, providing a contemporary perspective on West African traditions. #ZangbetoSideTable #SaluiwadiStudio #BeninCulture #NigerianArt #FurnitureDesign #WoodenFurniture #CulturalHeritage #SustainableDesign #HandCarved #KineticSculpture

Textiles, whether brought back from international travels or sourced from local designers, offer a unique way to introduce narrative and texture into home decor. Beyond their aesthetic appeal, textiles carry the stories of different times and places, making them cherished keepsakes. The article explores various methods for displaying these pieces, moving beyond common applications like pillows to highlight more creative and impactful design solutions. One effective approach is framing. Designer Christina Bryant, founder of St. Frank, advocates for framing textiles, particularly in acrylic box frames, which accentuate the handwork, three-dimensionality, and texture of the piece. This method also encourages sharing the textile's history and craftsmanship. An example showcases a framed scarf in a Houston living room designed by Meg Lonergan, demonstrating that not all textiles are raw fabric swatches. Another innovative use is transforming a textile into a headboard. Frances Merrill of Reath Design illustrates this by backing and upholstering an African textile with light padding, creating a comfortable and visually striking headboard. This method offers a distinctive alternative to traditional headboard designs, adding a personal and artistic touch to a bedroom. For those seeking a less permanent or upholstery-intensive solution, spreading a textile across the seat or back of a couch offers significant visual impact with minimal commitment. Textile designer Nathalie Farman-Farma of Décors Barbares, for instance, uses a vintage curtain to adorn her couch, achieving a dramatic effect without the need for professional upholstery. Similarly, Rebecca Atwood uses one of her original designs to enhance the back of a sofa, contributing to a calming room aesthetic. Smaller textile pieces can be repurposed into functional and decorative items such as poufs. Sally Breer of Co-Mingle Design utilizes kilims to create plush poufs, serving as additional seating and injecting color and pattern into a living room. Other small-scale upholstery projects mentioned include covering the seat of a chair, the front of a dresser, or the top of a bench. Textiles can also function as unique window treatments. Sally Breer suggests using vintage textiles for windows, especially those with unusual shapes or walls that need artistic enhancement, given their often-idiosyncratic sizes. This approach turns functional elements into decorative focal points, as seen in a stately living room with black and white Roman blinds. Finally, a simple yet impactful method is to hang textiles directly on the wall. British interior designer Abigail Ahern recommends draping a textile over a pole and mounting it, instantly transforming it into a piece of art. This technique, she explains, can make a space feel warm and cozy by elevating the textile to an artistic display. These diverse strategies allow textile enthusiasts to integrate their cherished pieces into their homes in creative and personalized ways, enhancing both the aesthetic and narrative of their living spaces. #TextileArt #HomeDecor #InteriorDesign #TextileDisplay #FramedTextiles #HeadboardDesign #FurnitureAccents #WindowTreatments #WallHangings

This article explores how three Westchester homeowners master the art of chic collecting, blending formidable treasures and flawless taste to create truly livable homes rather than museum-like spaces. Each homeowner or couple showcases a unique approach to integrating extensive and diverse art collections into their personal residences. Karen Schlansky's Chappaqua home, which also functions as a gallery for her business, Rose Court Asian Antiques, exemplifies how Asian art can be seamlessly integrated into various decors. Her 1987-built "country barn" style home, characterized by wide-planked pine floors and exposed-beam ceilings, eclectic furnishings, and diverse collections. Schlansky's collection includes Tang Dynasty pottery sculptures, a third-century pottery lokapala, and Ming Dynasty musicians, which she skillfully mixes with contemporary furniture and art from other cultures like African masks and Southwestern paper collages. Her journey into antique dealing began with a passion for Chinese history and culture during her travels, leading her to establish Rose Court Asian Antiques in 1997. Initially, her gallery was in the lower level of her home, but she later moved it to the first floor to better demonstrate how the pieces would look in a living space. While most of her pieces are for sale, a cherished Qing Dynasty lacquered leather box, representing her family's leather business, remains a permanent fixture, symbolizing her past, present, and future. Dr. Lewis Shapiro and Linda Swanson, after downsizing from a rustic Briarcliff Manor home to a two-bedroom condominium in Trump Tower at City Center, faced the challenge of displaying their extensive global art collection. Their collection, which began in 1985 after Swanson acquired African art from Sotheby's, includes 20th-century wooden masks from Western Africa, thousand-year-old Casas Grandes pottery from Mexico, and antique Chinese snuff bottles. They enlisted Scarsdale interior designer Linda Blair of Blair Interiors Group, Ltd., who, as a collector herself, understood their desire to integrate art into their living space rather than merely displaying it. Blair designed the apartment with a neutral color palette of cream, beige, and caramel to highlight the art and used traditional yet comfortable furniture. Custom cabinetry in the living room showcases a range of their prized pieces, such as a painted gold Ashanti staff finial, a Kuba cub, and a Dan chimpanzee mask. A concrete pillar was transformed into a display for intricately carved Yoruba twins, and an illuminated niche in the entry foyer highlights ancient Roman artifacts, flanked by 16th-century French church columns. The entrance also features framed illuminated miniatures from Les Très Riches Heures du Duc de Berry, holding both artistic and sentimental value for Swanson. Blair's goal was to unify and organize their diverse collection, creating a livable space that avoided feeling like a museum. Marc and Denyse Ginzberg, homeowners in Rye, have transitioned from collecting African art to focusing on Ethiopian crosses. Their sleek, modern home, designed by Charles Forberg in 1993, offers spectacular water views and features custom-made shelves, antique armoires, and chests to display their collections. Initially, their collection included world-class African art such as ceremonial combs, hairpins, hats, sword handles, spoons, clubs, and whistles. After collecting for over 35 years and amassing an impressive collection of authentic African masks and sculptures, the Ginzbergs decided to sell their figurative works due to rising prices. They then shifted their focus to non-figural, abstract objects of use, known as "forms," which were featured in Marc's book, African Forms. After auctioning off a significant portion of this collection at Sotheby's Paris, breaking records for non-figurative African art, the Ginzbergs have now turned their attention to intricately designed Ethiopian crosses from the 12th to 19th centuries, composed of bronze, iron, wood, and silver. This new passion reflects their continuous engagement with collecting and their ability to identify emerging areas of interest in the art world, often ahead of museums and other collectors. #ArtCollection #HomeDesign #InteriorDesign #AsianAntiques #AfricanArt #EthiopianCrosses #ArtCollecting #DecorativeArts #HomeDecor

KnollTextiles has collaborated with American artist and educator Nick Cave to create The Nick Cave Collection, a series of textiles inspired by Cave's iconic Soundsuits. This collection, featuring four upholsteries, three draperies, and three wallcoverings, aims to offer a fresh perspective on textile design, acting as a starting point for consumers to infuse their spaces with creativity. Nick Cave, renowned for his work across visual and performing arts, is best known for his Soundsuits, which are dimensional textiles constructed by layering, rearranging, and transforming everyday objects like beads, doilies, sequins, and synthetic hair. These Soundsuits serve as the primary inspiration for the new collection, translating the intricate, layered, and often playful aesthetics into functional textile designs. The collaboration was enthusiastically embraced by Cave, who noted KnollTextiles' pioneering role in his own artistic development. He emphasized the central role of textiles in his work and their influence on spaces and the people who interact with them, viewing this collection as another avenue for people to engage with his art and energy. Each product in the collection directly references a specific artwork or characteristic of Cave’s oeuvre. For instance, the 'Guise' upholstery employs multiple layering techniques and materials, mimicking the surface complexity of a Soundsuit with space-dyed twisted novelty and chenille yarns, and a unique finishing process that creates a puckering effect. 'Vert' upholstery draws inspiration from Cave’s installation, 'Architectural Forest.' It features a multicolor, variegated full-width repeat with 27 yarn colors per colorway, celebrating both perfection and imperfection. 'Puff' upholstery, a cozy faux shearling available in 13 colors, is inspired by Cave’s rainbow-colored synthetic hair Soundsuit, offering a tactile and trendy option. The 'Doily' upholstery translates one of Cave’s maximalist pieces into a highly visual, multidimensional, and tactile surface through two types of embroidery techniques layered over a woven ground. For draperies, 'Button' is inspired by Cave's frequent use of vintage buttons in his Soundsuits, creating a natural gradient pattern on Trevira CS Polyester. 'Until' drapery, derived from Cave’s large beaded web-like installations, is an organic, open-weave textile created by skilled embroiderers using a water-soluble ground, leaving a two-toned open drapery with structural components. The wallcovering designs include 'Heard,' which features details that mimic the hand-sewn beads, buttons, and appliques found on Soundsuits, brought to life through a meticulous process of cutting, applying, and sewing five ribbon colors. 'Big Floral,' KnollTextiles’ first floral wallcovering, is inspired by a beaded Soundsuit and showcases an exaggerated scale of flowers with significant movement, dimension, and depth, digitally printed on a bleach-cleanable, PVC-free ground. Lastly, 'Wire' wallcovering, inspired by Cave’s metal and bead tondo sculptures, renders textured fur in matte ink on a metallic mylar ground, capturing the strong contrast and luster of the original artwork. The collection as a whole demonstrates a commitment to artistic expression, innovative textile manufacturing, and the integration of fine art into interior design. #NickCave #KnollTextiles #TextileDesign #InteriorDesign #Soundsuits #ArtCollaboration #HomeFurnishings #ContemporaryArt #MaterialInnovation

The article highlights nine Black-owned home brands and stores, aiming to provide year-round support and visibility for businesses that often face limited exposure compared to major retailers. While Black History Month brings some attention, the article emphasizes the need for continuous promotion of these brands. Each featured brand offers a unique range of home decor and furnishings, showcasing diverse styles and ethical practices. Sustainable Home Goods, founded by LaToya Tucciarone, offers a variety of ethically sourced and sustainable products including home decor, glassware, cleaning products, and textiles. The brand collaborates with artisans from marginalized communities globally, focusing on providing job opportunities and economic stability. Notable products include the Pillowpia Tabletop Belly Basket, Creative Women Cactus Silk Pillows, and The Great Lakes Goods Anthurium Forever Flower. 54kibo, established by Nana Quagraine, is inspired by contemporary African design. Originating from Ghana and South Africa, Quagraine curated a collection of home decor, lighting, and linens from African designers. The brand's name, derived from Africa's highest summit and the number of African countries, symbolizes excellence in design. Key offerings include the 54kibo Teal Hand-Tufted Wool Rug, the Amur Matte Black Table Lamp, and the Yellow Cord Woven Mirror Artwork. Jungalow, a women-owned company, focuses on creating vibrant and healthy home environments. Beyond offering colorful wallpapers and quilts, the brand is committed to social responsibility, planting trees in Africa and donating to organizations like Black Lives Matter. They feature exclusive art prints from international artists and handmade textiles from India, such as the Justina Blakeney X Loloi Waves Lumbar Pillow, Jungalow Arched Cane Shelf Set, and the Justina Blakeney Kaya Shorty Ceramic Planter. Sheila Bridges Home, led by interior designer Sheila Bridges, reimagines traditional French toile with designs that reflect African American experiences. Her collection spans textiles, glassware, and wallpaper, bringing a blend of history and classic design. Featured products include the SBD Classic Stripe Wallpaper, SBD Harlem Toile Wall Decals, and SBD Harlem Toile Fabric. Linoto, founded by Jason Evege, specializes in 100% linen bedding, bath, and kitchen products. Evege's personal quest for affordable linen sheets led him to create a business that now boasts over 10,000 orders. Linoto's items, crafted in a New York workshop, include reusable Linen Paper Towels, comfortable Linen Pillowcases and Shams, and the luxurious Linen Spa Towel. Albany Park, co-founded by Darryl and Jessica Sharpton, simplifies the furniture buying process by offering three core sofa designs tailored to various needs. Their Ẹkáàbọ̀ collection, inspired by Darryl Sharpton's West African roots, features bold and colorful African prints. Examples are the Albany Park Ẹkáàbọ̀ Park Armchair, the versatile Park Armchair, and the functional Kova L-Shape Sectional + Console couch. Estelle Colored Glass, a luxury brand by Stephanie Hall, draws inspiration from her grandmother Estelle's glass collection and childhood summers in South Carolina. The brand offers hand-blown colored glass drinkware and cake stands, such as the Estelle Cake Stand Lavender, Estelle Colored Champagne Coupe Stemware, and Estelle Colored Rocks Glass Set. Clare, founded by interior designer Nicole Gibbons, addresses the challenge of selecting paint colors with a curated palette and a "Color Genius Quiz." Their water-based paints are VOC-free and Greenguard Gold Certified. Notable products include Clare Neutral Paints, Clare Primer, and the Clare No-Fail Neutral Swatch Kit, which allows customers to test colors at home. Finally, Pretty Honest Candles, started by Andrea Bertrand, focuses on creating candles with fragrances that effectively fill an entire home. After two years of development, Bertrand perfected her formula, offering 8- and 14-ounce handcrafted soy candles with long burn times, along with wax melts, room sprays, and reed diffusers. Featured items are Pretty Honest Room & Linen Sprays, the Old Flame Soy Candle, and the Honeysuckle Jasmine Soy Candle. #BlackOwnedBusinesses #HomeDecor #InteriorDesign #SustainableLiving #AfricanDesign #Textiles #Furniture #HandmadeGoods #HomeFurnishings

The article explores the resurgence of intricate floral block prints as a prominent design trend, positing them as the successor to the recent checkerboard pattern phenomenon. Block printing, an ancient technique originating in China and later adopted by Indian artisans, involves hand-carved embossed wood dipped in dyes and repeatedly pressed onto fabric or paper. Despite its thousands of years of history, contemporary designers and brands are revitalizing this craft with a modern twist. Several factors contribute to this renewed popularity. Poonam Abbi, co-founder of Sustainable Threads, a fair-trade social enterprise specializing in block-printed pieces, attributes the uptick in sales to the pattern’s imperfect, handmade nature. She suggests that the pandemic encouraged introspection, leading consumers to value the origins, craftsmanship, and ethical implications of their purchases. Sustainable Threads collaborates with traditional artisans and marginalized individuals, further imbuing its products with a narrative of social impact. Sarah Zellweger of SZ Block Prints, whose brand has grown significantly, echoes this sentiment, emphasizing the luxury of handcrafted products and the discernible effort invested in them. Zellweger highlights the versatility of block printing, noting its ability to blend classic and contemporary designs through the mixing and matching of heritage prints with new interpretations. Her brand's reversible blankets and strategic color combinations exemplify how traditional techniques can be adapted for modern aesthetics, integrating seamlessly into various home decor styles, from traditional to minimalist. The aesthetic appeal of block prints is further amplified by their adaptability. Sustainable Threads, for instance, is recognized for its geometric patterns and neutral colors, offering modern takes on classic artisan designs that complement diverse home furnishings. Another contributing factor to the trend's momentum is the influence of social media. Katharine Watson, who established her block-printing studio in 2009, observes a shift towards maximalism online. She notes that after a period dominated by neutrals and simple designs, there is a growing desire among consumers for bolder patterns and vibrant colors, a demand that block prints are well-positioned to meet. The article also features several examples of how block prints are being incorporated into home decor, showcasing products like block-printed napkins, tablecloths, throws, quilts, and pillows. These items illustrate the wide application of the pattern in various domestic settings, reinforcing its growing presence in interior design. #BlockPrints #HomeDecor #InteriorDesign #PatternTrends #HandmadeCrafts #SustainableDesign #TextileArt #GlobalInfluence

Umbrales de Ensueño, an ephemeral fabric installation by ELSE Design in collaboration with Luis Medina, was featured at the 2025 edition of A Cel Obert, a festival that activates heritage architecture through temporary interventions. The installation is situated within the historic Reials Collegis complex in Tortosa, Spain, specifically in the Patio de Sant Jordi i Sant Domènec. The project engages with the courtyard’s Renaissance geometry, characterized by a three-tier sequence of arcades with varying scales and proportions, which establish a distinct spatial rhythm. The installation reinterprets this architectural order using non-structural, lightweight materials. The installation comprises multiple translucent organza curtains suspended radially across the courtyard. These fabric sheets incorporate arch-shaped cutouts of different sizes; some are large enough for passage, while others create smaller visual frames. The design emphasizes subtraction rather than construction, allowing voids to define spatial perception. This approach transforms the traditional Renaissance arch motif into a porous, temporary threshold, blurring the lines between built form and ephemeral art. Movement and environmental conditions are essential components of the installation's dynamic behavior. Air currents and fluctuating sunlight continually alter the fabric's form and visual qualities. The material shifts and folds in response to wind, softening the boundaries between physical and perceptual spaces. The translucent organza transitions from near transparency to reflective opacity depending on the daylight, producing a changing array of light and shadow throughout the day. This interplay of light, air, and material creates a constantly evolving experience for observers. The project establishes a dialogue between permanence and impermanence, contrasting the courtyard's heavy stone architecture with the weightless textile suspended within it. The overlapping curtains generate layered sightlines, where reflections, silhouettes, and shadows form a secondary architectural layer within the original structure. As visitors navigate the space, they encounter shifting visual alignments, as the installation mediates between the existing architecture, ambient light, and air movement. This dynamic interaction encourages a re-evaluation of the historical context through a contemporary, temporary design. Umbrales de Ensueño abstracts the structural logic of the arch into a field of suspended voids, investigating the relationship between materiality and perception. The work operates at the intersection of architecture and installation art, utilizing minimal means to explore how spatial memory and environmental factors can redefine historical contexts through temporary design. Lead designers Zhifei Xu, Zimo Zhang, and Luis Medina were instrumental in realizing this vision, offering a novel perspective on engaging with historical sites. #EphemeralInstallation #TextileArt #RenaissanceArchitecture #CourtyardDesign #SpatialPerception #LightAndShadow #InteractiveArt #SpanishArt

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

The "Africa Now" collection by Italian brand Mosaico+ introduces a new line of mosaic tiles that draw inspiration from the vibrant patterns and textures of African fabrics. This collection aims to blend traditional African aesthetics with a contemporary design sensibility, offering bold, graphic patterns for modern interiors. The tiles utilize contrasting color palettes, such as black and pink, or black and silver, to create a striking visual effect that evokes the intricate weaves and prints found in traditional African textiles. The collection features two distinct designs: "Pivot" and "Twist." The "Pivot" design is characterized by its sophisticated, geometric pattern, which is constructed from Mosaico+ Concerto and Perle 15x15mm tiles. This design offers versatility, allowing for creation with either monochromatic schemes for a subtle yet impactful look or with contrasting colors to enhance its dynamic geometry. The varied composition options enable designers and homeowners to customize the tile arrangement to suit specific aesthetic preferences and spatial requirements. Conversely, the "Twist" design employs larger 20x20mm tiles from the Tanticolori collection. A key feature of the Tanticolori collection is its soft, matte surface, which imparts a tactile quality to the bold motifs of the "Twist" design. This textural element adds depth and an inviting feel to the tiles, differentiating them from typical smooth-surfaced mosaics. The larger tile size further emphasizes the graphic nature of the patterns, making them a focal point in any room. The combination of vivid patterns and tactile surfaces in both "Pivot" and "Twist" designs allows the tiles to serve as a statement piece, enhancing the overall decor with cultural richness and modern flair. These mosaic tiles are designed not only to be visually appealing but also to evoke the cultural heritage of African fabrics in a refined, contemporary manner. The "Africa Now" collection by Mosaico+ demonstrates how traditional inspirations can be reimagined through modern design and material use, creating products that are both aesthetically innovative and culturally resonant. The tiles are suitable for various applications, offering durable and artistic solutions for walls, floors, or decorative accents in residential and commercial spaces seeking a distinctive and artistic touch. #MosaicTiles #AfricanFabrics #InteriorDesign #MosaicoPlus #PivotDesign #TwistDesign #HomeDecor #GeometricPatterns #TextileInspired

Medallion patterns, a timeless motif characterized by their symmetrical, spherical, and repeating designs, are undergoing a contemporary re-imagining in today's marketplace. This trend sees these classic designs infused with modern aesthetics, appearing across a variety of home decor items from rugs to tiles and fabrics. The enduring appeal of medallions, rooted in historical art and architecture, is being revitalized to suit current design sensibilities, offering a blend of tradition and novelty. Jaipur Living introduces the Aakar rug by Kavi, a hand-knotted piece crafted from bamboo and wool. This rug draws inspiration from the intricate architectural details of old-school carved lattice screens, showcasing how historical elements can be translated into modern home furnishings. Its design reflects a sophisticated approach to pattern-making, bringing a sense of heritage and artistry to contemporary interiors. Vaughan offers the Maritsa Printed Linen, a fabric inspired by a 17th-century Turkish Ottoman design. This printed linen features multicolored stripes and a striking graphic motif, providing a vibrant and historically rich textile option for interior decorators. The fabric's design is a testament to the lasting influence of global artistic traditions on modern decor. The Tile Shop presents the Zara Blue Porcelain Tile, a high-contrast floor design with a matte finish. This tile showcases a bold deep blue floral pattern set against a soft white background, offering a dramatic and eye-catching option for flooring. Its design merges traditional floral motifs with a modern color palette, creating a versatile aesthetic. Mariaflora's San Ysidro Medallion Fabric is a performance fabric that belies its intricate woven pattern with exceptional durability. Made from stain- and water-resistant acrylic fibers, this fabric is suitable for both indoor and outdoor use, making it ideal for throw pillows and seating. Its design combines intricate detailing with practical resilience, catering to both aesthetic and functional demands. TSAR Carpets features the Spring Blue rug, a piece crafted from pure New Zealand wool and Tencel. This rug uniquely combines two contemporary trends: asymmetrical silhouettes and 1990s-style daisy prints. The juxtaposition of these elements creates a dynamic and fresh interpretation of traditional rug design, highlighting a playful yet elegant approach to home textiles. Élitis introduces Moda Fabric, available in 10 distinct colorways. The silky satin threads of Moda give it a flowing drape and a shimmery sheen, making it an excellent choice for elegant window treatments. Its luxurious texture and wide range of colors allow for diverse design applications, enhancing the sophistication of any space. The Tile Shop also offers the Laura Ashley Sunflower Tile, a porcelain wall and floor tile that provides a contemporary twist on a nostalgic pattern. This tile is adorned with a two-toned sunflower motif based on an original Laura Ashley print, celebrating a classic design with a fresh, modern appeal. It exemplifies how beloved patterns can be reinterpreted for new generations. Marcus William's Dubonnet Fabric is a versatile jacquard with a botanical twist, available in four earth-toned colors. This fabric features an elaborate lotus motif, offering a rich and intricate pattern that can add depth and elegance to various interior applications. The botanical theme, combined with the jacquard weave, creates a refined and timeless aesthetic. #MedallionMotifs #HomeDecor #InteriorDesign #TextileDesign #RugDesign #TileDesign #FabricDesign #ModernSymmetry #ProductShowcase

Dana Arbib, the designer behind the brand A Peace Treaty, has established a New York headquarters that serves as a physical embodiment of her globally-inspired aesthetic. After completing a two-year residency in the CFDA Incubator, which provided office space in Midtown Manhattan, Arbib sought a more distinctive environment for her brand. Her search led her to a pre-war building on cobblestoned Lispenard Street in Tribeca. The studio space was chosen for its blend of modern and rustic elements, a departure from the corporate office settings Arbib wished to avoid, thus preserving her creative freedom. A significant draw of the Tribeca studio was its existing floor-to-ceiling shelving and a functional rolling library ladder. These features proved ideal for displaying the myriad of objects Arbib collects during her extensive travels. Her journeys take her to diverse locations, from Pakistan to Peru and Turkey, where she sources textiles, learns traditional production techniques, and acquires unique baubles. The displayed artifacts include handwoven bags and accessories procured from an artisan market in Cuba, a custom-designed leather trunk from India, and a train case from London, now repurposed for transporting jewelry. The studio's decor also incorporates family heirlooms, such as a collection of masks from South Africa and Namibia dating back to the late 1970s, a piece of art by Israeli artist Michael Argov, and an Egyptian tomb statue. The design of the studio was not merely an accumulation of these global finds but was directly influenced by A Peace Treaty’s Resort 2017 collection. This collection drew inspiration from the rich legacy of woven African art, featuring crocheted caftans, scarves, and intricately embroidered textiles. This thematic connection is evident throughout the workspace, with numerous pieces from Africa, including baskets and handmade crafts, integrated into the decor. Most of the baskets in the studio are from Rwanda, with the exception of a leather-handled bolga basket crafted in Ghana. Arbib emphasizes that these elements celebrate traditional handmade techniques, a core value reflected in both the brand's collections and its workspace. The studio, therefore, functions not only as a functional workspace but also as a curated showcase of global artistry and Arbib's personal narrative of travel and cultural appreciation, offering an alternative to mass-produced decor. #HomeDesign #InteriorDesign #GlobalInspiration #TribecaStudio #DanaArbib #APeaceTreaty #TextileArt #CulturalDecor