Sabi textile range by Louise Sigvardt for Kvadrat

Dezeen Showroom has unveiled 14 new products this week, featuring a diverse range of furniture, lighting, and finishes for both commercial and residential projects. Among the highlights is the "Technicolour" textile collection by graphic designer Peter Saville for Danish brand Kvadrat. This collection draws inspiration from the colorful sprays used by farmers to mark sheep, translating this rustic aesthetic into a series of vibrant handwoven and robot-tufted rugs with color spots, iridescent curtains, and upholstery made from British sheep's wool. Saville describes the collection as bringing "the industry of the land, in raw form, into the living environment," likening it to "rural graffiti." Other notable product additions include the "Mouro" lamp, designed by Patricia Perez for Case Furniture. This portable and rechargeable table lamp, suitable for indoor and outdoor use, features a disc-shaped LED light that rotates 360 degrees, enclosed within a rectangular frame that doubles as a handle. Rainlight's "Phlox" collection for Okamura offers a comprehensive range of seating and tables, including conference chairs, lounge chairs, high stools, and five table shapes. The collection, characterized by its gently undulating silhouettes, is inspired by the petals of the night-blooming phlox flower. For storage solutions, Bruno Rainaldi's "Ptolomeo" bookshelf for Opinion Ciatti is designed to emulate the appearance of books stacked in high piles while providing structural stability. Named after the founder of the Library of Alexandria, this stainless steel shelf is available in black, white, or Corten effect lacquered finishes. Dedar introduces two new textile collections: "The Art of Jacquard" and a "Textile wall covering collection." The Jacquard collection features ultra-thin yarns woven directly into the fabric to create rich patterns, including tropical bird motifs, nature-inspired designs, bold graphics, and abstract floral landscapes. The wall covering collection, inspired by grand tapestries, includes four patterns, such as screen-printed illustrations on linen and classic weaves of jute and linen, aimed at creating a cozy atmosphere. The "Hymn" lamp by Hiroto Yoshizoe for Ambientec is another portable and durable lighting option for indoor and outdoor settings. It employs two magnets to create constant oscillations, producing a flickering effect reminiscent of a candle flame. GamFratesi's "Beetle Chair," available through Suite NY, has been re-released with four new upholstery options in neutral shades, alongside black or brass leg finishes. John Pawson's "Frame" dining table for Nikari, originally designed for his own farmhouse, is a minimalist piece made from responsibly sourced ash or oak wood with a natural oil finish, boasting a lifespan of over 100 years. Alegre Design's "Talent" desk for Actiu is a versatile, mobile, and height-adjustable workstation designed for educational and training environments, featuring a dry-erase worktop that functions as a whiteboard when folded. Finishes also see new additions with CDUK's expanded "Corian Solid Surface" range, now available in a broader spectrum of neutral and warm colors. This material is lauded for its hygienic, durable, abrasion-resistant, and fade-proof qualities, making it suitable for both commercial and residential applications. Forbo Flooring Systems introduces "Marmoleum Linear," a carbon-neutral, plant-based linoleum flooring made from linseed oil, waste wood flour, and jute, designed to mimic wood with irregular grey and neutral stripes. ADEX presents the "Habitat" tile collection, a sustainable ceramic option for interior walls made with 55 percent white-body ceramics for enhanced durability. Lastly, Decocer's "Crag" tiles offer a family of porcelain tiles that replicate the look of stone and weathered steel, suitable for indoor and outdoor walls and floors, characterized by an industrial aesthetic and textured matte finish. #ProductLaunch #InteriorDesign #FurnitureDesign #TextileDesign #LightingDesign #SustainableMaterials #DesignInnovation #HomeDecor #WorkplaceSolutions

Peter Saville, the acclaimed British graphic designer and art director, has launched his first textile series for Kvadrat, a company for which he has served as a creative consultant. The collection, named Technicolour, draws inspiration from the vibrant, industrial-hued dyes used by farmers in the Welsh countryside to mark sheep, which Saville describes as “rural graffiti.” This unique concept forms the basis for the collection’s color palette and overall aesthetic. The Technicolour series includes both upholstery and curtain fabrics, as well as three distinctive rugs. The rugs seamlessly blend untreated wool tones with contrasting DayGlo hues, creating a striking visual contrast. Two of the rugs, Flock and Fleece, are crafted from pure new wool and cotton. Flock features irregular weft yarns, achieved by hand-spinning colored wool tufts randomly, which gives it a speckled, organic appearance. Fleece, on the other hand, is characterized by random sparks of color naturally distributed across an irregular, unsheared surface, mimicking the natural variation found in wool. The third rug in the collection, Field, is notable for its ombre design, available in “Day” and “Night” colorways. This rug is manufactured using advanced robotic tufting techniques and is made from bamboo viscose, offering a different texture and sheen compared to the wool-based rugs. The Field rug’s gradient design provides a sophisticated blend of colors, transitioning smoothly from one shade to another. Saville emphasizes that the collection elements are designed to offer a rich experience of both texture and color, spanning a spectrum from highly expressive to subtly subliminal. His long-standing role as a creative consultant for Kvadrat culminates in this inaugural series, showcasing his signature artistic vision applied to textile design. The collaboration brings together Saville's innovative graphic sensibilities with Kvadrat's expertise in textile production, resulting in a collection that is both visually arresting and conceptually rich, intended to enhance interior spaces with its distinctive textures and vibrant color stories. #PeterSaville #Kvadrat #TextileDesign #Rugs #Fabric #InteriorDesign #GraphicDesign #Technicolour #DayGloHues

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

Danish textile designer Margrethe Odgaard has collaborated with Kvadrat, a Danish textile company, to create a new collection of satin-woven curtains. Unveiled at the Stockholm Furniture Fair, the collection features three distinct styles: Diorama, Panorama, and Suite. Each design explores the interplay of color and space, drawing inspiration from classical architectural and interior design elements. The Diorama curtain offers a delicate pinstripe effect, contributing to a subtle visual texture. Panorama is characterized by a unique central split where the direction of the weave shifts, creating a nuanced visual break. The Suite design showcases bold vertical stripes with contrasting shades, providing a more assertive aesthetic. All three curtain styles are available in a rich palette of 32 colors, offering a wide range of choices for various interior schemes. A notable feature across the collection is the "polarised mirror" effect, where one half of the curtain is woven with a subtle shimmer, while the other half employs a matt finish, adding depth and a dynamic interplay of light and texture. Odgaard’s design process for this collection was deeply influenced by traditional interior architecture, particularly the historical technique of wainscoting. Wainscoting, a form of wooden paneling typically used on the lower portion of walls, served as a foundational concept. She aimed to modernize these historical traditions by incorporating horizontal lines into her textile designs. Odgaard's research into historical interior design practices revealed how different cultures and periods manipulated perceptions of space through architectural divisions. For instance, she noted the baroque period's practice of dividing walls one-third of the way up from the floor with profiled timber, contrasting with French modernism's approach of extending the ceiling one-third down the wall. These historical insights informed her understanding of how dividing lines can alter the perceived scale and atmosphere of a room. The designer highlighted that the placement of a dividing line significantly impacts the perception of space. A low dividing line can create an impression of expansiveness and overview, while a higher dividing line can evoke a sense of security and enclosure, akin to being in a 'pocket.' This understanding of spatial perception is subtly integrated into the curtain designs, influencing their visual structure and the emotional response they might elicit within an interior setting. The color theory applied to these curtains is based on Odgaard’s "Northchromatic" concept. This concept is structured around a binary system of opposing pairs, such as warm and cold, or light and dark, which are then translated into a diverse spectrum of shades on a color wheel. The Northchromatic concept is designed to reflect the unique light and color characteristics of the Northern hemisphere. When applied in interiors, this color approach can influence the overall atmosphere of a room, ranging from vibrant and stimulating to serene and calming, or deep and dramatic, depending on the specific shades and combinations used. In addition to the curtain launch, Kvadrat also hosted a color workshop with Odgaard at its Stockholm flagship showroom, designed by Bouroullec Studio. During the fair, a collaborative exhibition between Kvadrat, Really, and Vitra was also presented, showcasing pieces from the Vitra collection made from Solid Textile Board by Really. This initiative aimed to foster discussions on circular design and the potential of sustainable materials to redefine resource consumption. #MargretheOdgaard #Textiles #Curtains #Kvadrat #HomewareDesign #Materials #StockholmDesignWeek #StockholmFurnitureFair #InteriorDesign

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

The Sumi fabric collection by Camira has been expanded to include 21 new color finishes. Originally launched in 2020 with six neutral shades, the updated collection now features a broader spectrum of bright hues, pastels, and dark tones. These new additions are inspired by natural dyes derived from plants and minerals, aligning with the collection's organic aesthetic. The textiles are crafted from worsted wool, known for its minimal and natural appearance. Designed to be versatile, the Sumi fabrics are suitable for a range of applications. They can be used for upholstery on furniture, covering vertical surfaces, and creating curtains and drapery. Additionally, the collection is also recommended for acoustic panels, suggesting its potential to contribute to sound management in various settings. This expansion aims to increase the product's adaptability across different interior design and architectural contexts. The development and manufacturing process of the Sumi textiles occur at Camira's facility in Yorkshire, England. The dyeing process for these fabrics utilizes water sourced from the Pennine hills, emphasizing a connection to natural resources. Lynn Kingdon, Camira's head of creative, noted the popularity of the Sumi collection since its initial launch and expressed that the timing was right to introduce the new color offerings. The intention behind these new shades was to replicate colors achievable through natural dyes, further enhancing the collection's organic appeal. The expanded Sumi collection became available for purchase starting September 20. This release signifies Camira's continuous effort to innovate and diversify its product lines, catering to evolving design preferences while maintaining a focus on natural inspirations and manufacturing integrity. The inclusion of a wider array of colors allows designers and consumers more options to integrate these woollen fabrics into their projects, whether for residential or commercial spaces, where both aesthetics and functionality, such as acoustic properties, are important considerations. #SumiFabric #Camira #TextileDesign #NaturalDyes #WoolFabrics #Upholstery #InteriorDesign #AcousticPanels

The article details the 'Technicolour' collection, a new textile collaboration between British graphic designer Peter Saville and the Danish textile company Kvadrat. This collection, comprising upholstery fabrics, rugs, and curtains, draws inspiration from a unique aspect of British rural life: 'smit marks' – the spray-painted patches used by shepherds to identify sheep. Saville, renowned for his work with Factory Records and various fashion clients, identified a 'pop' aesthetic in these utilitarian markings, which he calls 'rural graffiti,' seeing the spray can as a modern technological development. His long-standing collaboration with Kvadrat, dating back to 2004, initially focused on visual communication for the brand, with CEO Anders Byriel noting Saville's integral role in Kvadrat's transformation into a global cultural producer. The genesis of the 'Technicolour' collection stemmed from Saville's question about what would happen if the vibrant colors of these smit marks were not washed out but integrated into the wool production process. This inquiry led to the development of a collection that bridges farming, industry, and culture, aiming to bring elements of the outdoor pastoral landscape into interior cultural spaces. The 'Fleck' upholstery fabric, made from 100 percent English wool, is a key piece in the collection. It features neutral backgrounds subtly embedded with bright yellow, blue, and red fibers, creating a nuanced chromatic depth. Saville envisioned these textiles revealing unexpected color upon closer inspection, transforming seemingly plain surfaces into 'a cosmos of colour.' This concept builds upon a previous collaboration for the book 'Kvadrat Interwoven,' which utilized slim colorful yarns within a white and grey fabric. The collection further includes two types of curtains: 'Flux,' characterized by a rainbow stripe motif, and 'Fade,' a transparent curtain with iridescent neon hints that emerge with movement, both made from Trevira CS. Three ultra-tactile rugs, handwoven and robot-tufted, complete the range. 'Flock' and 'Fleece' rugs are crafted from pure new wool, directly referencing the sheep's coats, while 'Field' employs fine bamboo yarn for a more industrial interpretation. The overall goal for Saville was to create a journey from the pastoral to the cultural landscape, reminding observers of the land and fields, and bringing the outside indoors. Anders Byriel views the collection as more poetic than provocative, akin to a publishing house producing extraordinary works. He hopes 'Technicolour' will contribute to shaping a new aesthetic language for post-Covid interiors, providing much-needed excitement in a design landscape he perceives as currently 'good enough.' The collection was showcased at Salone del Mobile in Milan and Copenhagen's 3 Days of Design, highlighting Kvadrat's commitment to pushing design boundaries through innovative collaborations. #PeterSaville #Kvadrat #TextileDesign #TechnicolourCollection #WoolTextiles #InteriorDesign #DesignCollaboration #BritishCountryside #IndustrialDesign

The article highlights 15 unique UK fabric shops and designers, moving beyond mainstream options to showcase artisan and distinctive fabric designs for home interiors. These selections cater to a wide range of tastes, from traditional country styles to eclectic prints, hand block-printed motifs, and sustainable options, providing inspiration for upholstery, curtains, cushions, and other soft furnishings. The aim is to introduce readers to designers and shops that offer unique aesthetic qualities and ethical production methods that might not be commonly known. St Jude's is featured for its artist-designed fabrics and wallpapers, including works by Mark Hearld, Angie Lewin, and Emily Sutton, making it suitable for those seeking unique prints. Kate Forman is recommended for traditional, vintage-style floral linens, ideal for country living rooms or bedrooms. Molly Mahon specializes in cheerful block prints, encouraging the mixing of various patterns for a vibrant interior. Susie Watson Designs offers a cohesive palette with prints ranging from florals to animal motifs, designed for easy incorporation into daily life with a muted and pastel color scheme. Madder Cutch & Co stands out for its commitment to sustainability, printing linens with natural pigments and plant extract dyes in a garden studio, also offering cushions and fabric accessories. Fanny Shorter reimagines botanical prints with maximalist fabrics for those desiring a unique take on nature-inspired designs. Morris & Co is recognized for its iconic prints, experiencing a revival that suits both traditional and contemporary interior schemes. Cabbages & Roses caters to vintage enthusiasts with understated designs, including faded floral linens and timeless stripes, perfect for period properties. Tori Murphy presents timeless style through stripes and geometric patterns, woven in a traditional Lancashire mill, ensuring durability and enduring appeal. Sam Wilson provides whimsical printed fabrics based on linocut designs, offering an understated way to integrate nature into interiors. Rapture & Wright is noted for its bold, hand-printed fabrics, featuring Moorish-inspired geometrics and the 'Walled Garden' print, ideal for making an impact. Sylvia & Margot specializes in cushions with intricate florals and birds, based on artist Rebecca's hand-carved linocuts. Ian Mankin is highlighted for its extensive collection of stripes and checks in cottons, linens, and wools, all woven in a historic Lancashire mill, offering a wide variety for different preferences. Cloth & Clover offers Scottish-milled linen mixes that evoke a traditional style, suitable for older properties or adding historic charm. Finally, Pippa Blacker Interiors provides elegant, nature-inspired fabrics and wallpapers based on Pippa's sketches and paintings, all made in the UK, with an option for a made-to-measure service for various soft furnishings. Each selection emphasizes distinctiveness, quality, and specific aesthetic appeals to guide consumers in their fabric choices. #FabricShopsUK #HomeInteriors #FabricDesigners #UpholsteryFabrics #CurtainFabrics #CushionFabrics #ArtisanFabrics #SustainableFabrics #VintageStyle

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

Kvadrat, a renowned textile manufacturer, celebrated its widely recognized fabric, 'Divina,' by inviting 22 international designers to reinterpret the material for a unique exhibition during Milan Design Week. The exhibition showcased a variety of products, ranging from umbrella-like structures to stacked cushions, created by designers such as Max Lamb, Philippe Nigro, Martino Gamper, and Anton Alvarez. Among these installations were the 'Jib' stools designed by Peter Marigold. Marigold's 'Jib' stools are characterized by their individually upholstered components, which can be combined in various configurations. This modular approach allows for the pieces to be arranged as if selecting and comparing fabric swatches. The name 'Jib' is inspired by one of the main sails on a boat, suggesting a sense of adaptability and dynamic arrangement. When assembled, the stool parts are deliberately arranged asymmetrically, creating an impression of one piece 'jumping onto' the next. The design addresses a common challenge associated with 'Divina' wool: its density. Marigold noted that the fabric's bulkiness can result in visible seams that detract from the overall aesthetic if not handled carefully during upholstery. To mitigate this, Marigold aimed for the stool legs to present as solid blocks of color, ensuring that the seam lines did not interfere with the geometric purity of the design. The construction involves cutting a groove into the stool's structure, allowing the dense fabric seams to lie flat and maintain a smooth finish. Beyond individual stools, the modular design of the 'Jib' series enables further adaptation. Longer components can be incorporated to create larger furniture pieces, such as benches, while maintaining the same design language and aesthetic consistency. This flexibility highlights the versatility of Marigold's approach and the potential for 'Divina' fabric to be utilized in diverse applications, demonstrating its aesthetic and functional qualities within contemporary furniture design. The exhibition successfully transformed a single textile into a platform for innovative design exploration, showcasing the fabric's potential through varied and imaginative interpretations. #PeterMarigold #Kvadrat #DivinaFabric #MilanDesignWeek #FurnitureDesign #TextileInnovation #ModularFurniture #UpholsteryDesign

Ilse Crawford has launched a new collection of five rugs, named Grönska, for the Swedish textile company Kasthall. The collection, which debuted during Milan Design Week, draws inspiration from the natural landscape surrounding Kasthall's factory in Kinna, Sweden. Crawford, a London-based designer, aimed to incorporate more greenery into interior spaces through these designs. Each of the five rugs in the Grönska collection utilizes distinct weaving and tufting techniques, reflecting the changing seasons and diverse natural formations of the Swedish environment. Crawford emphasized that the collection's colors and textures are derived from typologies like meadows, glades, furrows, farmlands, and vegetable patches, translated into abstract and accessible designs for homes and public areas. She highlighted the positive impact of green hues on health and the perception of naturalness they bring to interiors. To capture the nuanced beauty of the natural world, Crawford intentionally avoided single block colors, instead experimenting with various combinations to achieve the depth and complexity observed across different landscapes and throughout the year. The collection includes Åker, a rug featuring horizontal block stripes with varying textures and tufts, such as cut and loop pile and bouclé pile, made from a blend of linen, wool, and mélange yarns. This design conceptualizes the textures and colors found in the farmlands surrounding the Kasthall factory. The Täppa rug, crafted from wool and linen, showcases a tufted, striped pattern. Its soft and tactile surface is achieved through a combination of cut and loop pile techniques, with natural linen incorporated to soften the color blocks. The Ång woven rug features thin lines of white-haired yarn and light green stripes, while Glänta presents a plain color interspersed with light flecks. Crawford explained that the Ång rug's depth and complexity result from over-dyeing natural mélange hair yarn, combined with chenille lines to create a thin flat weave, a novel category for Kasthall. The Fåra rug is characterized by irregular stitching that exposes a white wool base, utilizing a newly developed bouclé yarn made of pure wool for its distinctive irregular quality. With the exception of Åker, which will be produced in a limited edition of 50 rugs, all designs within the Grönska collection are set to become a permanent part of Kasthall's product range. The collection was exhibited at the Salone del Mobile furniture fair as part of Milan Design Week, alongside other notable installations and exhibitions. #IlseCrawford #Kasthall #RugDesign #MilanDesignWeek #TextileDesign #InteriorDesign #HomewareDesign #SwedishLandscape #NaturalMaterials

Asian Paints, a prominent brand in the paints industry, has expanded its focus to home decor and interiors, launching a collaboration with celebrated Indian designer Sabyasachi. This partnership introduces 'Sabyasachi for Nilaya', an exclusive collection of furnishing fabrics designed to enhance home spaces. The collection, named 'The Heartland Collection', encompasses a diverse range of soft furnishings, including fabrics for curtains, drapes, and upholstery. Sabyasachi has infused his distinctive fashion aesthetic into this interiors line, drawing inspiration from a rich tapestry of experiences, memories, and stories. He emphasizes that every home tells the story of its inhabitants, and the collection aims to help people layer their living spaces with cherished elements and distinct styles. 'The Heartland Collection' is structured into six distinct ranges, each offering unique design characteristics. The 'Soofah' collection focuses on a tranquil neutral palette, ideal for creating a peaceful atmosphere. It features rich linen embroideries, delicate sheers, silk, and wool silk jacquards, suitable for drapes, blinds, and upholstered furniture. The 'Thar' range is characterized by its earthy and artful appeal, combining the versatility of pure linen with various weaves. This collection is designed to bring comfort to homes through its use in drapery and upholstery, offering an aesthetic that is gentle on both the eyes and the heart. 'Makhmal' is presented as a gem within the Sabyasachi collection, bringing together coveted velvets, jacquards, and silks to transform any home into an epitome of elegance. The 'Chowk' collection offers a minimalist yet enchanting approach, featuring curated plains and two varieties of checks in diverse color stories. These fabrics are intended for drapes, blinds, and upholstered furniture, providing subtle sophistication. The 'Hazaribagh Linen' collection extends the exquisite wallpaper motifs from the Sabyasachi Heartland range onto two types of linen. This range comprises prints on linen, perfect for drapes, blinds, and upholstered furniture, adding a touch of artistic detail. Lastly, the 'Hazaribagh Velvet' collection adapts selected wallpaper motifs from the Sabyasachi Heartland range to premium velvets. This range is a rich assortment of intricate prints on velvet, exploring a wide array of color and design themes. Overall, the collaboration between Asian Paints and Sabyasachi aims to provide consumers with high-quality, aesthetically rich furnishing options that allow for personalized and elegant home interiors, reflecting individual stories and styles. #Sabyasachi #AsianPaints #HomeDecor #FurnishingFabrics #InteriorDesign #TextileCollection #IndianDesign #Upholstery #CurtainsAndDrapes

Shibori, an ancient Japanese method of pressing, twisting, and coloring textiles with indigo, has been a prominent trend in home decor, appearing on headboards, dinner napkins, and wall art. While shibori-dyed items remain popular in California-cool homes, designers are exploring new patterns to follow this bohemian style. This article consults four designers to predict the next significant pattern trends. Christina Bryant, founder of St. Frank, suggests Kuba cloth as the new neutral. Originating from the Congo, Kuba cloth is handwoven from raffia palm leaves, featuring earthy tones and a modern, elevated, and masculine feel. Bryant has incorporated its large winding lines into lumbar pillows, pouches, and even wallpaper, while still appreciating shibori fabric, as evidenced by a large shibori-covered surfboard in her living room. Rebecca Atwood, a textile designer and author, highlights Suminagashi, a Japanese marbling technique. Initially experimenting on paper with India ink and water, Atwood transferred these dreamy, hypnotic swirls to cotton duvets and pillow covers. She notes that Suminagashi shares the irregular and painterly quality that resonated with people in shibori, lending itself to a coastal and bohemian aesthetic. Caitlin Murray, principal at Black Lacquer Design, anticipates prints that are both exotic and suitable for everyday use. She is drawn to sophisticated geometrics with a softer, organic touch. Her top choices include Kelly Wearstler’s District fabric, a heavy linen with Cubist influences, and Clarence House’s Aimee print, which has been featured on a Memphis-style ottoman. Heather Taylor, owner of Heather Taylor Home, looks to channel the aesthetic of Amanda Brooks’s Cotswolds boutique by layering gingham and stripes. She proposes a maximalist approach, suggesting pairing a checkered duvet with matching window treatments. By adding beautiful florals, this combination can evoke the charm of the English countryside. These designers offer fresh perspectives on textile patterns, signaling a shift in popular home decor trends beyond the prevalent shibori style. #InteriorDesignTrends #TextilePatterns #Shibori #KubaCloth #Suminagashi #GeometricPrints #LayeredPatterns #HomeDecor

In this installment of 'What I Love,' San Francisco-based textile designer and editor of The Textile Eye, Saana Baker, presents a mood board showcasing her current inspirations in fabrics and wallcoverings. Baker, renowned for her ability to identify exceptional prints and patterns, has curated a selection that emphasizes bold hues and tactile textures, driven by a commitment to diversity in design and a response to contemporary global shifts. Baker’s mood board is a vibrant and eclectic collection featuring samples and swatches from international makers, reflecting a broader discussion within the design industry about ethical sourcing and cultural mindfulness. She explains that the theme is deeply rooted in significant global changes, including the social justice movement and its subsequent influence on design aesthetics. The result is a maximalist-friendly compilation characterized by plush materials, striking graphic motifs, and deeply saturated colors. The chosen palette is described as rich and unusual, utilizing innovative color combinations to convey an optimistic outlook for the future. Baker provides a detailed breakdown of 25 items on her mood board. She begins with the Linyati Fabric in Waterfall by Jiun Ho Textile, a linen velvet praised for its elegant luster and livability, making it an ideal complement for complex patterns. Next is the Hingtham Wallcovering in Clay by Black Artists + Designers Guild for S. Harris, a printed grass cloth inspired by Bhutanese ikat, which achieves visual depth through fine detail and polychromatic layering. The Tiger Nest Fabric in Lake, also from Black Artists + Designers Guild for S. Harris, is a fine embroidery mimicking ikat with feathered edges, noted for its evocative name and fresh palette of chartreuse, cobalt, and pale yellow. Jiun Ho Textile's Seronera Fabric in Thorn was inspired by Jiun Ho's extensive travels in the Serengeti, aiming to evoke a mood rather than literal motifs. The Machakos Fabric in Earth and Sky by Nzuri Textiles is a hand-painted Belgian linen design by Eno Jonah, drawing inspiration from African mask details. Shinto Fabric in Cinnabar by Jiun Ho Textile is a rustic boucle with a wool-blend warp yarn that allows for subtle colorations, supporting diverse palettes. The Anna May Wong Fabric in Midnight/Teal by Makrosha, designed by Esha Ahmed, is a finely woven jacquard inspired by the glamour of the art deco period. Makrosha’s Marci Mohair in Sumac is a classic plush mohair available in a wide range of rich colors, known for its enduring quality and ability to develop character with wear. Anamar’s Lamu Meshi Fabric in Lapis Bluff is a hand-woven, ribbed plain-weave silk fabric created in the Philippines using warp screen-printing. The Lightray Wallcovering in Patina is a collaboration between visual artist Lisa Hunt and Lori Weitzner, showcasing geometric yet subtle designs translated from fine art. The Banda Indigo Flatweave Rug by Eskayel is part of a unique collaboration where designer Shanan Campanaro worked with master ikat artisans in Sumba, Indonesia, to reinterpret her watercolor designs into rugs, wallpapers, and textiles. Malene Barnett’s Heritage Wallpaper for Lulu and Georgia, created by the Black Artists + Designers Guild founder, is inspired by her hand-built ceramics, featuring a raised surface-print technique for tactile dimensionality. Karen J. Revis for A-Street Prints designed the Waves Blue Wall Mural, a flowing watercolor design intended as a wall-sized mural. The Maji Fabric in Peacock by Black Artists + Designers Guild for S. Harris is a jacquard velvet with bright blue and striking gold yarns, creating a complex pattern. Anamar’s Beijing Kikko Fabric in Lazurite Peak features a hand-screen-printed globe pattern on the warp, with each color applied separately before hand-weaving. The Hamaka Textile in Humacao by Breuwen, designed by Grey Lux, is a digital linen print inspired by the weaving legacy of his Taino ancestors. Malene Barnett’s Alaari Wallpaper for Lulu and Georgia offers a sophisticated update to millennial pinks with its tonal spice combination. The Akimbo 5 Indigo Flatweave Rug by Eskayel is another example of collaboration with ikat weavers, noted for its inky depth. Nzuri Textiles' Yankari Fabric in Turkana showcases subtle color gradations and hand-drawn details, preserving the hand-touched imperfection of Eno Jonah’s original artwork. Makrosha’s Marci Mohair in Teal is a second colorway of their luxurious mohair velvet, known for its stunning depth of color. Anamar’s Andorra Meshi Fabric in Milori Crown, an archival pattern depicting dragon scales, is a heavy, hand-woven silk with a hand-screened warp and alternating teal colors in the ribs. The Majani Trim in Brass by Black Artists + Designers Guild for S. Harris features gold-toned beads juxtaposed with stiff raffia, creating compelling material contrast. The Bhavana Desert Fabric by Black Artists + Designers Guild for S. Harris is a decorative panel stripe combining print and embroidery with an antiqued white ink and crewel-like embroidery. The Amboseli Pillow in Maasai Blue by Nzuri Textiles is a special hand-woven textile from West Africa, produced on a strip loom by weavers who commit complex traditional patterns to memory. Finally, the Patu Trim in Bark by Black Artists + Designers Guild for S. Harris is a chic trim reminiscent of Maori incised decorations, embellished with beads and tonal embroidery. #TextileDesign #InteriorDesign #MoodBoard #SaanaBaker #Fabric #Wallcovering #JacquardVelvet #EmbroideredTrims #GlobalInspiration #DiversityInDesign

The article introduces Bengt Thornefors, the creative director of Sahco, a nearly 200-year-old textile brand, and his innovative approach to integrating fashion and interior design. Thornefors, known for his work in the fashion industry with brands like Acne Studios and Saint Laurent, was appointed to his current role in 2022. His background includes co-founding the bedware brand Magniberg, which, like Sahco, is now under the ownership of Kvadrat. This experience has equipped him with extensive expertise in fashion, which he now applies to the realm of textiles. Thornefors's appointment by Kvadrat's CEO, Anders Byriel, reflects a desire to inject fresh perspectives into Sahco, moving beyond traditional textile manufacturing to embrace broader cultural and artistic influences. Thornefors views interiors as having a special appeal, and his ability to navigate both fashion and interior design was a key factor in his selection. He aims to explore the interplay between historical textile traditions and contemporary design, creating collections that embody the essence of a true textile maison. For Sahco's inaugural press presentation at Kvadrat's New York City headquarters, Thornefors adopted an unconventional approach. He transformed the space into a white-box gallery, showcasing fabrics tailored into garment bags and hung on rolling racks, reminiscent of a fashion show. These textile displays were artfully combined with fine art photographs and furnishings from the esteemed Swedish institution Svenskt Tenn, demonstrating a fusion of art, fashion, and home decor. This presentation strategy was a deliberate effort to blur the boundaries between different creative disciplines, emphasizing the emotional and artistic value of textiles rather than just their functional aspects. The reception to Thornefors's innovative presentation was highly positive, even from discerning figures like Jonathan Olivares, the architect of the presentation space. His new collections for Sahco are characterized by a blend of heritage sensibilities, retaining Sahco's traditional decorative florals, with a contemporary Scandinavian aesthetic. Thornefors highlights examples such as lime-green embroidery on a jet-black background, which illustrates his modern interpretation of classic motifs. This design philosophy underscores his belief that Sahco sells more than just fabric; it sells emotions, aiming to evoke feelings and experiences through its products. The article concludes by noting that this story originally appeared in the September 2023 issue of ELLE DECOR, emphasizing its relevance and timeliness within the design world. #TextileDesign #InteriorDesign #FashionInfluence #BengtThornefors #Sahco #Kvadrat #HomeDecor #ScandinavianDesign #CreativeDirection

The article details Kirkby Design's 'Underground Vol II' collection, a collaboration with Transport for London (TfL), which was launched at the London Design Festival. The collection features contemporary patterned woollen textiles, specifically upholstery velvets, inspired by historical moquettes from TfL's seating fabric archives dating back to the 1930s. Creative director Jordan Mould explains that the idea for the first 'Underground' collection originated when he observed the unique fabric designs on a tube carriage during an empty late-night journey, sparking the idea for a partnership with TfL. The 'Underground Vol II' collection reinterprets these vintage designs by adjusting their scale, texture, and color palettes to create a more sophisticated and luxurious aesthetic suitable for modern interiors. While the essence of the original designs is maintained, the updated color combinations are trend-driven. Each design in the collection is named after the London Underground line it was originally featured on, which helps customers connect with the historical aspect of the textiles, often evoking fond memories of their travels around London. Mould highlights 'Northern,' a design from 1965 by Marianne Straub, in the 'Biscuit' colorway, as one of his personal favorites from the new collection, appreciating its graphic statement. The article suggests that there is a vast amount of material within TfL's archives, hinting at the possibility of future collaborations. The collection is available from £89 per meter through Kirkby Design and was featured in the October issue of ELLE Decoration. This initiative represents a fusion of historical public transport design with contemporary interior textile trends, transforming functional patterns into high-end decorative elements. #KirkbyDesign #LondonDesignFestival #TextileDesign #UpholsteryVelvets #TransportForLondon #InteriorTextiles #DesignCollaboration #MarianneStraub #HomeDecor

Riddhi Jain Satija, founder of Studio Medium, a Delhi-based apparel and home textile design space, reinterprets traditional handwoven textiles using intensive resist-dyeing techniques. Her work seamlessly integrates diverse textile traditions, such as the JamBan collection, which combines Bengal’s jamdani weave with Gujarat’s bandhani tie-dye. The design process at Studio Medium is textile-driven, starting with the selection and treatment of fabrics before garment construction. The team finalizes a color palette, which artisans then use to prepare for the tie-dye process, while Satija collaborates with her design team on sample sketches, garment construction patterns, and shade cards for upcoming collections. The dyeing processes at Studio Medium involve a meticulous back-and-forth approach, with a focus on achieving precision in shibori tie-dye patterns. Artisans engage in fabric tying using techniques like Arashi shibori, also known as the pole-wrapping technique. This method involves diagonally wrapping ivory fabric around PVC poles and securing it tightly with thread, then scrunching the cloth to create accordion-like folds. The term 'Arashi,' meaning 'storm' in Japanese, reflects the diagonal patterns that resemble falling rain. After preparation, the fabric-wrapped poles are submerged in a hot water bath, followed by the addition of natural and azo-free dyes. The shade is carefully monitored, and salt is incorporated to enhance color vibrancy. Once the desired color is achieved, the poles are sun-dried to remove excess dye, revealing intricate patterns resembling leaf veins upon untying. Following the dyeing and drying processes, tailors begin garment construction. The apparel then proceeds to artisans who hand-embroider or stitch to finalize each piece. Every stage of design and production at Studio Medium emphasizes high craftsmanship, detailed work, and a strong commitment to sustainability. Once completed, garments undergo rigorous quality checks, ironing, and display. The studio integrates core upcycling ethics into its operations, striving for zero-waste patterns and innovative upcycling of by-products. For instance, threads from the bandhani technique and fabric scraps from past collections or garment construction are transformed into unique textile art. Bandhani thread clusters are meticulously arranged on fabric and then sandwiched between another layer, secured with Kantha stitching to create textiles for outerwear in the 'Re' collection, which draws inspiration from Monet’s impressionist paintings. Another initiative is the 'Bor(r)o(w)' collection, which is based on Japanese mending philosophies, specifically the Boro art form. Artisans freely arrange fabric scraps from previous collections or waste materials onto new fabric, patching, stitching, and piecing them together to preserve their beauty. Studio Medium applies various dyeing techniques to hand-woven textiles to create a range of classic silhouettes, including kaftans, capes, shirts, saris, and jackets. Riddhi Jain Satija emphasizes that design is not merely about creating new items but about observing the environment and introducing simple innovations. She also highlights the importance of respecting the comfort and expertise of weavers and dyers, aiming to design mindfully and foster an inclusive and sustainable community of practitioners to generate unique narratives and experiences. Her personal journey into tie-dye began in her mother’s workshop in Kolkata, influenced by Jaipuri bandhani and Kutch district techniques, later exploring Japanese shibori at the National Institute of Design in Ahmedabad, where her fascination with the 'circle' as a design element continues to inspire her work. #TextileDesign #ResistDyeing #StudioMedium #RiddhiJainSatija #SustainableFashion #HandwovenTextiles #Shibori #Upcycling #IndianCrafts

Raf Simons, the acclaimed fashion designer known for his work with Jil Sander and Dior, and recently appointed co–creative director at Prada, has launched his latest textile collection for the Danish textile company Kvadrat. This collaboration, which began in 2014, introduces two new upholstery fabrics, Helia and Silas, drawing inspiration from Persian lamb fur and matte surfaces. These new offerings result in a bouclé fabric and a matte fabric, both characterized by a notably soft and gentle hand. Anna Vilhelmine Ebbesen, Kvadrat's head of design consumer, highlights the textiles' extra softness, which contributes to a more rounded, organic aesthetic, and their comforting tactility. In addition to the new fabrics, Simons has refreshed the color palette of Sunniva, a previously designed textile. The collection's launch also features a unique application of these new materials: Simons has used them to reupholster Roberto Matta’s Malitte Seating System, a modular furniture piece from 1966 that is part of the Museum of Modern Art (MoMA) collection. This choice serves as a playful contrast to the sophisticated elegance of the new upholstery textiles, reflecting Simons's haute couture background. Ebbesen expresses her admiration for Simons's creative approach, noting his distinctive perspective on textiles and colors, which brings a fresh dimension to furniture and space design. She describes Simons as a brave individual and an attentive listener who values diverse opinions, qualities she deems crucial for successful collaborations. His commitment to questioning established norms and refusing to compromise on detail or quality further underscores his meticulous design philosophy. The development of this collection predated the global impact of COVID-19, and a planned celebratory event for the launch was canceled due to the pandemic. However, the timing of the new collection, with its focus on enveloping and comforting interior fabrics, proved to be particularly relevant as consumers were spending more time at home. Despite the challenges posed by the pandemic, Ebbesen remains optimistic, viewing the crisis as an opportunity for reevaluation and positive change within Kvadrat's operational practices. #RafSimons #Kvadrat #UpholsteryFabrics #TextileDesign #RobertoMatta #MalitteSeatingSystem #FashionDesigner #InteriorDesign #FurnitureDesign