For his latest fabric collection, Jiun Ho returns to his first love: Japan

Designer Teruhiro Yanagihara has created a palette of 28 colors for Danish design company Kvadrat's new textile project, Haku. The inspiration for these colors comes from natural gradations observed in various elements, including the bubbles on fermenting wine, fog over blue seas, lichen on weathered trees, and the dark tones of textured soil. This project offers a contemporary interpretation of traditional Japanese colors, which have historically been featured in kimono textiles, nihonga pigment paints, lacquerware motifs, ceramic glazes, and ancient poetry. The Haku collection represents an exploration of nuanced shades, moving beyond simple categorization. Examples of these colors include Nyuhaku, a milky off-white; Sekiban-iro, inspired by slate; and Haizakura, a grayish hue reminiscent of cherry blossoms. The collection emphasizes 'aimai,' a Japanese concept signifying ambiguity or vagueness, which is reflected in the subtle distinctions between colors. This approach allows for a richer, more complex understanding of color, moving away from explicit color definitions. Yanagihara's work with Kvadrat aims to translate the depth and cultural significance of traditional Japanese colors into modern textile design. The palette is designed to evoke a sense of the natural world and historical artistry, providing a bridge between ancient aesthetics and contemporary applications. The intention is to create textiles that resonate with a deeper cultural understanding of color, where shades are not merely superficial but carry layers of meaning and association. The colors selected are not just visually appealing but also narrate a story rooted in Japan's rich artistic and natural heritage. The collaboration between Yanagihara and Kvadrat highlights the potential for cross-cultural exchange in design, bringing Japanese aesthetic principles to a global audience through high-quality Danish textiles. The Haku collection serves as a testament to the enduring appeal and versatility of traditional Japanese color concepts, proving their relevance in modern design contexts. The subtle and often indefinable nature of these colors encourages contemplation and a more sensory engagement with textiles, aligning with the philosophical underpinnings of 'aimai.' #JapaneseDesign #ColorPalette #TextileDesign #Kvadrat #TeruhiroYanagihara #HakuCollection #TraditionalJapaneseColors #DesignInnovation #InteriorDesign

The year 2024 saw a resurgence of bold and enthusiastic approaches in designer wallpaper and fabric launches, moving away from the quiet luxury aesthetic. This shift was evident from events like Paris Deco Off, showcasing vibrant palettes and daring colorways. The trends observed included heritage brands reinterpreting archival prints and contemporary labels embracing psychedelic influences. One prominent trend was the celebration of Japanese design principles, known as 'Travels to Japan.' This included homages to wabi-sabi, Japandi fusions, and kanso, which manifested in textiles as love letters to Japan's natural landscapes and artistry. Collections like De Gournay's Byōbu and Fromental's New Gilded Age, with its Kiku Garden and Haiku designs, drew inspiration from the Edo Period and traditional Japanese painting. Designers Paolo Moschino and Philip Vergeylen referenced Imari porcelain, while Pierre Frey's Soleil Levant collection incorporated ukiyo-e woodblock prints and silk obi patterns. Clarence House's À La Japonaise collection featured prints inspired by ink painting, Nara's deer, and Noh theatrical costumes. The 'After Dark' trend showcased neo-Victorian influences, with British brands like House of Hackney and Soane introducing striking floral prints on dark backgrounds. Soane's Violas and Mabille, for example, presented dynamic large-scale designs. Pierre Frey's Sceaux fabric in Nocturne evoked famille-noire porcelain, and Casamance’s Xalapa offered a tropical feel. Élitis’s Arabesque contributed to this trend with abstract, pulsating shapes, creating an invigorating high-contrast aesthetic. Another theme, 'Day at the Museum,' drew inspiration from art and cultural institutions. S. Harris's Identity collection channeled Abstract Expressionists and Color Field painting. Harlequin’s Onburo wallpaper offered Rothko-like meditative stripes. Breegan Jane's collection for Clarke & Clarke transformed African wildlife into Pop art and painterly fabrics, with Malindi wallpaper featuring graphic repeats reminiscent of Warhol and Nairobi wall covering evoking Monet's waterlilies. Aux Abris’s Woodlands collection featured floral prints in the style of Sonia Delaunay's 1930s drawings. Pierre Frey’s Azuma wall covering depicted furoshiki, with bundles resembling Yayoi Kusama’s gourds. Other art-inspired releases included S. Harris's Cubist print for Georges Braque and Maharam's collaborations with artist Jacob Hashimoto. The 'Acid Trip' trend highlighted designers' embrace of bold, psychedelic colors. Élitis’s Excentrique line and Morris & Co.’s Bedford Park collection reimagined archival prints in vibrant new colorways, such as Strawberry Thief in fuchsia and turquoise. Rubelli's Formafantasma adopted a Lite-Brite palette in the Gardens collection, while Sahco's 2024 collection featured delicate, disparately arranged petals in scintillating cranberry, citron, frothy orange, and turquoise. Dedar’s Jamu Jungle and Déjà Vu Jamais showcased kaleidoscopic labyrinths in vivid hues like flamingo pink. Maharam also planned to introduce Nova by Sander Lak, featuring a pattern that captures the flow and movement of color. 'Woodland Embarking' focused on arboreal themes, with chic tree designs appearing throughout 2024. Sahco’s Art Deco–esque Sariska print, Arte’s Riverbank jacquard, and Aux Abris’s Sheltering Pond mural took inspiration from forests and natural landscapes. Dedar’s Il Giardino In Una Stanza and House of Hackney’s Trees Please print offered magical, storybook-like imagery. Larsen debuted a leaf-like printed fabric as a versatile alternative to palm prints. The 'Stamp of Approval' trend saw brands putting twists on stamped motifs, from delicate florals to bold geometrics. Fermoie’s Ruffle and Rapture & Wright’s Pablo’s Polka were abstract highlights. Textile studio Otea launched offerings inspired by block prints and folk art. Maison Venu, Schuyler Samperton Textiles, Peter Dunham Textiles, and Nina Campbell incorporated pops of color through printed petals, embracing the imperfections of handmade crafts. 'Dialing Up the Charm' featured novelty prints that brought personality to interiors. Nina Campbell’s Dallimore collection for Osborne & Little included the Tudeley fabric with jubilant potted plants. GP&J; Baker’s collaboration with Kit Kemp reimagined archival imagery and included Robina’s Dinner Party with animal-emblazoned plates. Ralph Lauren’s Boatyard print offered a nautical twist, while bows and berries appeared in releases from Schumacher and Molly Mahon. Animal novelty prints continued with Schumacher’s A Country Life collection and Teil Duncan’s whimsical creatures. De Gournay’s Celestial Atlas provided a unique offering with a Zodiac ceiling mural. 'Blue Is the New Neutral' observed the prevalence of dusty, icy cerulean shades as an antidote to electric hues. Ronsard, a tapestry-inspired floral from Quenin 1865, was revived by Lelièvre. The Vale London’s Shaw and Noreen patterns, with hibiscus flowers, epitomized the coastal-grandmother aesthetic. Schumacher and Caroline Lizarraga for Parete created distinctive blue patterns. Flora Soames’s Stockton fabric infused blue into a historic Jacobean-inspired print, and Loro Piana Interiors’ Hebrides offered a deep cerulean herringbone tweed. French blues also appeared in collections from Elliston House and Weitzner. 'Better With Age' explored the English country house aesthetic, featuring moody faded florals and withered roses. Ralph Lauren’s Dorset Garden fabrics included plaids, damasks, and floral prints in muted hues, with Espalier Vintage Rose being reintroduced. Guy Goodfellow, Leah O’Connell Textiles, and Sanderson also presented blossoms on cream and beige grounds. Zak+Fox and Colefax and Fowler gave plaids and stripes a settled-in effect, and Amber Interiors drew inspiration from shibori for her line with Studio Four NYC. Linen grounds were popular for imbuing fabrics with subtle age and lightness. 'To Be a Dragonfly on the Wall' highlighted the enduring charm of dragonfly motifs in novelty prints. Clarence House’s Tonbo print referenced Japanese woodblock prints and folk art, symbolizing victory and agility. Aux Abris’s Kelmscott collection included a kaleidoscopic Dragonfly paper. Harlequin’s Demosille design and Teil Duncan’s Dragonfly Stripe offered modern, candy-colored updates. S. Harris reintroduced Bugskins with colorful embroidered insects on a dark linen-blend ground. Finally, 'Nature-Made' showcased sophisticated textured wall coverings crafted from natural materials. Straw, wood, and other elements were adapted by artisans, leading to experiments in pattern-making. Arte’s Hawaiian-inspired Lanai collection featured hand-crafted rattan and raffia elements. Weitzner and Omexco harnessed natural materials in their Imprint and Intuition collections. Osborne & Little integrated color into wovens using age-old paper-weaving techniques, as seen in the Papyrus wall covering. Phillip Jeffries’ Enchanting Planks created a geometric collage from banana leaves, and CMO Paris’s Sisal Murals offered eye-catching neutral tones and marquetry. These trends collectively represent a dynamic and enthusiastic year in designer wallpaper and fabric, emphasizing diverse cultural inspirations, artistic influences, and a departure from subdued aesthetics. #WallpaperTrends #FabricTrends #InteriorDesign #HomeDecor #JapaneseDesign #ArtInspired #ColorTrends #NaturalMaterials #ArchivalPrints #NoveltyPrints