Actually Good Word Art—and More Genre-Defying Decor at This Year’s FOG Design + Art Fair

Gilles Clement, an acclaimed designer and art dealer based in Greenwich, transformed a Colonial-style home in Purchase, New York, for a family of five. Clement's design philosophy challenges the conventional idea of aligning interior aesthetics with exterior architecture, emphasizing that personal identity and taste should dictate home design rather than architectural style or geographical location. His approach incorporates a bold, internationally inspired aesthetic, drawing from European flair and global influences, which is also reflected in his eponymous art gallery. The project began unexpectedly when Clement's future client purchased a distinctive and expensive Visionnaire console from his gallery. This uncommon purchase, made without Clement's direct sales involvement, piqued his interest, leading to a meeting that revealed the client's desire for a full home renovation. The client, who had lived in Manhattan, traveled extensively, and developed a strong appreciation for design and aesthetics, proved to be an ideal muse for Clement's distinctive style. She resonated deeply with his gallery's curated collection, which blends old and new elements and features art from international artists like David Datuna, Debra Franses Bean, Clement Kamena, Devorah Sperber, and Curtis Cutshaw. Clement characterizes his design style as "transitional and contemporary," opulent and luxurious, a sensibility that extends to the art, furniture, and decor showcased in his gallery and, ultimately, in his clients' homes. The Purchase home's transformation is anchored by its art collection, beginning with the Visionnaire console in the hallway, an Italian piece with a bold design featuring black beveled glass and cascading chains. Above it hangs a three-dimensional rendition of Vermeer's 'Girl with a Pearl Earring' by Clement Kamena, a creative duo composed of Clement's parents. This piece is part of their 'Jar Memory' series, which reinterprets art history masterpieces within jars, aligning with Clement's vision of making art accessible and collectible. The hallway is further enhanced by two Italian Terzani pendants, each crafted with seven handblown crystal balls. In the living room, an Il Pezzo Mancante lighting fixture, another Italian creation, acts as a central sculptural element, featuring handblown crystal balls and polished nickel and black powder-coated lacquer rods. The room also showcases another Clement Kamena 'Jar Memory' piece, a representation of Jeff Koons' 'Diamond,' chosen for its scale, color, and vibrant presence. Additional artwork includes a mixed-media piece by Natalia Kldiashvili, celebrating Coco Chanel's life through historical clippings and fashion collages. The space is completed with a luxurious silk rug from Nepal, distinctive Klismos chairs in black piano lacquer, and Clement's signature feather-adorned pillows. The powder room, curated around the homeowner's photograph of a woman with ostrich feathers, demonstrates Clement's commitment to integrating existing art into new designs. Despite its small size, the room achieves a "jewel box" aesthetic with dark paint, a mosaic brass-tile floor, a Maison Valentina vanity from Portugal, and a black toilet, an unconventional choice that Clement defends for its ability to blend seamlessly with the gold-leaf Japanese wallpaper and diamond-shaped lighting fixture from Holland. Clement emphasizes the critical role of lighting, often choosing sculptural, artistic fixtures from Europe that also serve as art statements. The kitchen, previously outdated, was expanded and reconfigured to accommodate the family of five and visiting grandparents. Clement personally designed the custom chandeliers, inspired by Brand van Egmond, to mirror the client's love for jewelry and glamour. The cabinetry, custom-built in Clement’s workshop, features piano lacquer with brass inserts. A backsplash combining solid brass and Nero Marquina marble, along with two angled Calacatta Gold Ultra Quartz islands, provides both luxury and functionality. The breakfast nook, an extension of the kitchen, features a Paolo Castelli chandelier, a custom silver-leaf ceiling, and Portuguese brass furniture. The dining room continues the opulent theme with Terzani lighting, Elitis wallpaper, custom furniture with Romo Zinc fabric, a custom rug, and a unique video artwork by MARCK from Switzerland. Throughout the home, Clement's design ethos is to create environments that are not only aesthetically pleasing but also mood-enhancing, viewing art as the "soul of the home" and a vital element in improving daily life. #HomeDesign #InteriorDesign #ArtCollection #LuxuryLiving #GillesClementDesigns #ContemporaryDesign #InternationalInfluence #CustomFurniture #WestchesterHome

Art Nouveau, meaning "New Art," emerged in Western Europe and the United States from the 1880s until World War I. This influential art and architectural movement drew inspiration from the untamed aspects of the natural world, significantly impacting applied arts, graphic design, and illustration. Its characteristic sinuous lines and "whiplash" curves were partly derived from botanical studies and deep-sea organism illustrations, notably Ernst Heinrich Haeckel's "Kunstformen der Natur." Other pivotal publications, such as Augustus Welby Northmore Pugin's "Floriated Ornament" and Owen Jones's "The Grammar of Ornament," advocated for nature as a primary source of artistic inspiration, aligning with a generation seeking to deviate from established styles. The flowing lines of Art Nouveau symbolized a quest for artistic freedom from traditional constraints and critical expectations. The style evolved from two 19th-century English movements focused on design reform: the Arts and Crafts movement and the Aesthetic movement. The Arts and Crafts movement emphasized a return to handcraftsmanship and traditional techniques, while the Aesthetic movement promoted "art for art's sake," forming the basis for non-narrative paintings. Additionally, Art Nouveau incorporated elements of Japanese art, known as "japonisme," which became prevalent in Western markets after trading rights with Japan were established in the 1860s. The broad spectrum of artistic trends before World War I, including those in painting and the initial designs of the Wiener Werkstätte, can be broadly categorized under Art Nouveau. The term "art nouveau" first appeared in the Belgian journal "L'Art Moderne" in the 1880s, describing the work of Les Vingt, a group of painters and sculptors advocating for art reform. This group, along with many others across Europe and America, was influenced by theoreticians like Eugène-Emmanuel Viollet-le-Duc and John Ruskin, who championed the unity of all arts and rejected the division between fine arts and decorative arts. Inspired by William Morris and the Arts and Crafts movement, Art Nouveau designers aimed to integrate art and craft, creating a "Gesamtkunstwerk" or "total work of art" across various media. Notable examples of this unified approach include Victor Horta and Henry van de Velde's Hôtel Tassel, Charles Rennie Mackintosh's Hill House, and Josef Hoffmann and Gustav Klimt's Palais Stoclet dining room. Painting styles such as Post-Impressionism and Symbolism, particularly the "Nabis," also had strong ties to Art Nouveau, with designers adapting these aesthetics to applied arts, architecture, interior design, furnishings, and patterns, contributing to a cohesive and expressive style. Siegfried Bing's gallery, L'Art Nouveau, which opened in Paris in December 1895, played a crucial role in popularizing the movement and its name. However, the style's international reach was significantly bolstered by vibrant graphic arts published in periodicals like "The Savoy," "La Plume," "Die Jugend," "Dekorative Kunst," and "The Studio." "The Studio" notably showcased the bold, Symbolist-inspired linear drawings of Aubrey Beardsley. Other influential graphic artists included Alphonse Mucha, Jules Chéret, and Henri de Toulouse-Lautrec, whose poster art frequently depicted the diverse roles of women in Belle Époque society, from the independent "femme nouvelle" to the "demimonde." Female figures often appeared as fairies or sirens in the jewelry designs of René Lalique, Georges Fouquet, and Philippe Wolfers. In France, Art Nouveau was also known as Style Jules Verne, Le Style Métro (after Hector Guimard's subway entrances), Art belle époque, and Art fin de siècle. The 1900 Exposition Universelle in Paris significantly boosted its public appeal, featuring innovative structures and exhibitions like René Binet's Porte Monumentale, the Pavillon Bleu with Gustave Serrurier-Bovy's work, Bing's Art Nouveau gallery, and the Union Centrale des Arts Décoratifs pavilion. These exhibits displayed furnishings that blended new aesthetic tastes with acclaimed French craftsmanship, utilizing luxury veneers and gilt mounts in the furniture of leading cabinetmakers. Following this, the Glasgow International Exhibition in 1901 and the Esposizione Internazionale d'Arte Decorativa Moderna in Turin in 1902 further showcased European Art Nouveau luminaries. The movement adopted various names across Europe: Style nouille or Style coup de fouet in Belgium, Jugendstil in Germany, Modernista in Barcelona (championed by Antoni Gaudí), Arte nuova or Lo stile Liberty in Italy, and Sezessionstil in Austria and Hungary. In Russia, it was known as Stil' modern, while in the United States, "Tiffany Style" referred to Louis Comfort Tiffany's Favrile glass designs. Art Nouveau, though brief, served as a vital precursor to modernism, which later prioritized function over form and minimal ornamentation, influencing subsequent movements like Art Deco and inspiring graphic designs of the 1960s. #ArtNouveau #DesignReform #AppliedArts #GraphicDesign #NaturalForms #Gesamtkunstwerk #FinDeSiècle #DecorativeArts

Artist Stephanie Dillon and her husband, Reilly, were captivated by a model home in Eden Prairie, which boasted a blend of whitewashed shiplap and shakes on its exterior, creating a timeless and airy aesthetic. The interior featured light-filled communal spaces, each with a distinct character, moving away from conventional floorplans. The color scheme ranged from calming charcoals and pale neutrals to deep greens and rich terra-cotta, evoking a European atmosphere. Kelli Fontana Vogelgesang, owner of West Bay Homes and the designer behind the model, drew inspiration from her travels to Paris, characterizing the style as French contemporary farmhouse. She envisioned the kitchen as a French pastry shop, integrating multiple layers of meticulously detailed materials throughout the 5,000-square-foot residence. The kitchen's design incorporates three types of glazed tiles for the backsplashes, with a small hexagonal tile chosen for its light-reflecting properties, contributing to an elevated visual experience. Dillon, an acrylic and mixed-media artist known for painting her emotions, found a kindred spirit in Vogelgesang, whose design philosophy also prioritized passion and feeling. Dillon retained Vogelgesang to complete the interior design of their new home. The designer expressed enthusiasm for incorporating Dillon's extensive rug collection. Elements like shiplap and painted charcoal, seen on the exterior, were repeated inside on the basement's fireplace wall and the vaulted ceiling of a lounge area adjacent to the kitchen, along with charcoal-colored square tiles extending from counter to ceiling in the kitchen backsplash. This repetition of color ensures cohesiveness and a holistic progression throughout the home, where all environmental elements relate to one another. Vogelgesang skillfully managed the abundance of materials, preventing a busy or cluttered appearance, much like Dillon blends colors on her canvases. Some design choices stand out, others recede, and some shimmer, collectively defining the mood of each space. The materials coalesce into a balanced and proportionate composition, resulting in a home tailored for an artist. Vogelgesang aims to create spaces that are timeless and elegant without being overly delicate or cost-prohibitive. The lower-level bar area features charcoal shiplap around the fireplace, painted in Sherwin-Williams’s Dorian Gray, and steps down into a sunken media room, showcasing the designer’s preferred brass and gray combination. Brass hardware also adorns the front entry doors. Light fixtures, including those from Mitzi on the library ladder, were strategically chosen. The unexpected entry leads to a "dining hall" that functions as a grand foyer, as described by Vogelgesang. This space features nine-inch-wide-plank white oak floors laid in a herringbone pattern, with ceiling beams bisecting its soaring height, allowing ample natural light. The built-in bar features a backsplash of alternating light and dark neutral tiles, custom cabinetry with dental molding, and a marble sink skirt. Open shelving in the kitchen displays two sizes of backsplash tiles from The Tile Shop, with custom alder wood cabinetry finished with a clear whitewashed stain and brass hardware for an enhanced shimmer. The kitchen, inspired by Parisian pastry shops, includes two islands for ease of navigation, with only one housing a sink to allow for uninterrupted dining on the other. The mudroom boasts large-format heated tiles combined with white oak cabinetry, finished in a whitewash stain, offering an industrial concrete look harmonized with French country cabinetry. A basement guest bath incorporates vibrant color through whimsical floral tiles from The Tile Shop on one wall and Sherwin-Williams’s Perfect Periwinkle on the adjacent wall. The library features a bold mix of Sherwin-Williams paints: Canyon Clay on the walls and Gauntlet Gray in a high-gloss enamel finish on the moldings and doors, complemented by chartreuse chairs. A wide-plank whitewashed cedar wall on the rear deck provides privacy. The prep kitchen off the mudroom embraces color with Waverly Classics wallpaper by York, cabinets painted in Sherwin-Williams’s Green Onyx, and a hammered copper sink, showcasing how personal touches can enhance practical areas. The powder room dazzles with an antiqued mirrored glass tile wall from The Tile Shop, a custom white oak vanity with a marble shelf, and Savoy House sconces. The floors throughout the home incorporate patterned ceramic tiles from The Tile Shop. The home's floor plan, while a traditional rambler, diverges into an unconventional layout where the front entry opens into a vaulted foyer and dining room, serving as a pass-through to the kitchen and great room. #HomeStyle #InteriorDesign #HomeTours #FrenchContemporaryFarmhouse #CustomCabinetry #TileDesign #ArtisticHome #ArchitecturalDetails #EuropeanInfluence

Faye Toogood, a British designer, has launched her latest furniture collection, "Lucid Dream," showcased at two New York galleries: The Future Perfect in the West Village and TIWA Select in Tribeca. The exhibition runs from May until June 21, coinciding with the NYCxDesign festival. The collection is notable for its fusion of fine art and furniture, with each piece individually hand-painted by Toogood herself in her London studio, following fabrication by small-scale artisans. "Lucid Dream" presents an experimental and intuitive approach to artmaking, utilizing existing furniture lines such as the Roly Poly Dining Table set and the Gummy furniture line as canvases. Toogood enhances these pieces with expressive and often haphazard painted motifs and shapes, giving them a sculptural quality. David Alhadeff of The Future Perfect characterized the collection as evoking the atmosphere of a "moody evening with Faye," highlighting its vibrant creative energy and expressive color palette, particularly evident in the living space display at The Future Perfect. At the TIWA Select gallery, the nocturnal influences of "Lucid Dream" are emphasized, with Toogood showcasing crumpled lighting made from Japanese paper. These lighting pieces are also adorned with linear improvisations, demonstrating the designer's distinctive artistic style. Alex Tieghi-Walker, founder of TIWA, expressed his belief that "Lucid Dream" underscores the significance of handmade, one-off design. He further remarked on Toogood's ability to bridge the conceptual gaps between two galleries, each with distinct philosophies regarding design and craft, through a cohesive body of work. The collection’s methodology involves a deeply personal touch, transforming functional furniture into unique art objects. Toogood's practice combines industrial design principles with fine art techniques, resulting in pieces that blur the boundaries between the two disciplines. The exhibition aims to offer visitors an immersive experience into her creative process, where each piece tells a story through its spontaneous and dreamlike aesthetic. This approach not only showcases Toogood’s artistic vision but also champions the value of bespoke craftsmanship in an era of mass production. Overall, "Lucid Dream" serves as a testament to the power of artistic expression within functional design. Toogood’s decision to hand-paint each item ensures that every piece is distinct and imbued with an individual character, reinforcing the concept of art as an integral part of daily living. The dual exhibition across two prominent New York galleries highlights the collection's versatility and its capacity to engage with different interpretive spaces, from the domestic setting of The Future Perfect’s townhouse to the more art-focused environment of TIWA Select’s studio. #FayeToogood #LucidDream #FurnitureDesign #FineArt #HandPainted #NYCxDesign #TheFuturePerfect #TIWASelect #Exhibition

Texas Design Week Houston will host a panel discussion on Thursday, April 17, from 11 am to 1 pm, at Ann Sacks, focusing on the importance of decorative arts in interior design. The panel features prominent figures in the decorative arts world: Guillaume Féau of Féau Boiseries Paris, master verre églomisé artist Miriam Ellner, and designer Sara Story. The event includes an illustrated talk, book signings, and cocktails, and is part of the broader Texas Design Week Houston schedule. Guillaume Féau represents Féau Boiseries, a Parisian company established in 1875 known for preserving and recreating centuries-old wood paneling. The firm possesses an extensive collection of antique decorative paneling, including fragments from Napoleon’s office and pieces by notable designers such as Jansen, Emilio Terry, Alberto Pinto, Madeleine Castaing, Jacques-Émile Ruhlmann, and Jean-Michel Frank. The archive also contains historical elements like rooms designed for Madame de Pompadour and 18th-century chinoiserie panels. Féau Boiseries has collaborated with leading interior designers including Jacques Garcia, Jean-Louis Deniot, and Michael S. Smith, and their work has adorned the homes of influential patrons like Henry Frick, Henry Ford, and the Getty family. Under the leadership of Guillaume Féau and Angélique Féau-Leborgne, the company is expanding its presence in the United States with a new showroom in New York City’s D&D Building, aiming to provide easier access to their archives and reproduction panels spanning from the 17th century to the Art Deco period. Miriam Ellner, a master of verre églomisé, will also participate. Her artistry involves transforming plain glass into intricate decorative pieces using techniques like gilding, painting, and applying layers of gold and silver leaf, powdered potions, and other materials. Her New York City studio, where she works with a team of artists, produces custom wall panels, doors, ceilings, decorative screens, tables, mirrors, and abstract art. Ellner’s work is highly sought after by top designers such as Michael S. Smith, Bunny Williams, Emily Summers, and Peter Marino. She is recognized globally as a leading practitioner of verre églomisé, as highlighted by Glenn Adamson, former director of the Museum of Arts and Design. Her new book, “Golden Glass: Verre Églomisé,” showcases her unique artistry and experimental approach. Ellner's training includes a century-old art school in Brussels, where she learned decorative painting, gilding, trompe l’oeil, and the preparation of materials, followed by specialized training in verre églomisé with Frances Binnington in London. Sara Story, a Houston native based in New York City, has established an international design practice with projects worldwide and her own lines of lighting, wallpaper, and furniture. She is included in the AD 100 list and has been featured in numerous design and lifestyle publications. A significant career milestone was the 2014 feature in Architectural Digest showcasing the contemporary Hill Country ranch house she designed with Lake/Flato. Story is also deeply involved in the art world, serving on the Board of Ballroom Marfa, a founding member of Proyecto Dracula, and a Board of Trustees member for the New Museum, as well as a member of the Guggenheim Museum’s International Director’s Council and the Design Leadership Network. #TexasDesignWeek #DecorativeArts #InteriorDesign #GuillaumeFeau #FeauBoiseries #MiriamEllner #VerreEglomise #SaraStory #DesignPanel #LuxuryInteriors

This year-in-review article from Core77 highlights significant trends and notable designs in furniture and lighting throughout 2011, alongside a retrospective of major international design festivals. The review begins by emphasizing the continuous relevance of furniture and lighting in industrial design, noting that while broader topics like technology emerge, these categories remain fundamental. Key discussions include the versatile use of wood as a material in furniture, featuring pieces ranging from left-field commentary to subtractive designs, crazy curves, and plywood pods, often incorporating nest-like warping. The article also showcases various applications of reclaimed materials, from preserved and polished pieces to de-militarized items and those simply repurposed. Lighting designs are explored in depth, highlighting how many lamps creatively mimic other objects, including the lampshade itself, leading to skeuomorphic designs like the cluster-like 'TamTam' ceiling lamp, the futuristic 'LED Shade Lamp,' and the humble 'Sympathy for the Bulb.' The popular levitating lamps by Light Light are also mentioned. Beyond conventional forms, lamps took on abstract biomorphic shapes, both 3D-printed and otherwise, and imaginative forms such as an open-ocean predator, fly kicks, and a maritime marker. The intersection of indoor lighting and upcycling is noted, with designers transforming plumbing fixtures into steampunk lighting and repurposing recyclable materials into elegant pendant lamps and minimalist desk lamps. The 'Liter of Light' project, developed by MIT students, is recognized for its significant social impact in providing sustainable lighting solutions. Chairs, a staple of furniture design, are presented through their diverse material explorations. These include aluminum wire, cork, laser-cut steel, Twintex, recycled PET bottles, piano keys, circuit boards, salvaged signage, and even the creative use of empty space. The article humorously contrasts a chair made of discarded candy wrappers with one made entirely of candy, both praised for their aesthetic appeal. The vast array of chair designs in terms of shapes and sizes is acknowledged, including those designed for bachelors and by student bachelors, and chairs that resemble other objects. DIY approaches to seating are also covered, ranging from emphatically designed pieces to simpler, deconstructed or remixed versions of classic designs like the Eames Lounge. The enduring popularity of the Mid-Century Modern (MCM) aesthetic is discussed, noting its continued presence in designs both at home and internationally, despite playful attempts to 'retire' it. The MCM movement persists through the resurrection of long-lost designs, limited-edition reinterpretations, and online resources. The review then shifts to an overview of global design weeks and festivals. Dutch Design Week 2011 is highlighted for its conceptually rich work, including Tom Gottelier's wax creations and Dennis Parren's 'CMYK Lamp.' The inaugural Beijing Design Week showcased 'site-specific' designs reflecting mainland Chinese cultural touchstones, such as the 'Chinese Stuff' exhibit and the Water Calligraphy Device Tricycle Hack, with Naihan Li's 'CRATES' collection of mobile pop-up furniture being a notable success. Design Tide Tokyo, part of Tokyo Design Week, featured 'Souvenir' by Design Soil, a series of furniture designed for easy disassembly and travel. Exhibitions in Tokyo offered a comprehensive view of Japanese design, from traditional crafts to contemporary issues and accessories. Vienna Design Week, though smaller, presented significant installations, including Philippe Malouin's collaboration with Lobmeyr and Thomas Feichtner's crafted 'M3' chair. The Salone Milan, recognized as the year's largest design event, featured Studio Formafantasma's 'Botanica,' an exploration of material science roots, and Thomas Lommée's forward-thinking OpenStructures project. The Open Source movement's impact on furniture design, seen in DIY projects and design-build firms, is also emphasized. Milan's diverse offerings included craft mashups, photoluminescent lamps, and unique material explorations. New York Design Week, including ICFF and the Noho Design District, showcased American innovation and craftsmanship, with notable works from Uhuru and Lindsey Adelman, and a tribute exhibition for Tobias Wong. London Design Week featured diverse European designs, such as the 'Argonaut' collection by Greek designers and Kyuhyung Cho's experimental typography, alongside student projects from the RCA and eco-minded cardboard furniture startups, concluding the review with a look at cardboard's versatile applications. #FurnitureDesign #LightingDesign #DesignFestivals #MaterialInnovation #Upcycling #MidCenturyModern #DutchDesignWeek #BeijingDesignWeek #TokyoDesignWeek #ViennaDesignWeek #SaloneMilan #NewYorkDesignWeek #LondonDesignFestival #OpenSourceDesign #SustainableDesign

This article features an interview with Berlin-based graphic and product designer Steffen Wagner, known for his unique approach to typography and expressive design. Wagner discusses his artistic process, inspirations, and the evolution of his personal and professional work. He explains his preference for muted tones in his personal projects, describing his color palette as "funky-retro," though he is gradually incorporating brighter and more provocative contrasts. When starting a new piece, Wagner emphasizes the importance of beginning simply to allow ideas to flow, aiming to visualize the core message or value through the artwork itself, sometimes obviously, sometimes subtly. He creates prints for galleries, shops, and individuals seeking to artistic enhance their homes with specific, identifiable messages, conceptualizing his work as "thoughts in frames." The interview highlights a distinct difference between Wagner's personal design aesthetic and his brand work for clients. While his personal projects often feature dynamic typography and whimsical geometrical shapes with muted tones, client work may require a different visual approach. He acknowledges the ongoing challenge of wanting to integrate his personal style into client commissions but notes a recent shift where galleries, shops, and magazines are now actively seeking his distinctive style for commissioned pieces. This development marks a transition of his hobby into his primary professional activity. Wagner expresses a dream of designing for The New Yorker but appreciates all clients who offer opportunities to explore new ideas and values. His artistic inspirations include cubist pioneers like the early Mondrian and Picasso, whose works he greatly admires. Wagner reveals that he typically conceives the sayings and quotes used in his typographic prints before he starts designing. These words are drawn from a vast collection of personal experiences, ideas about life, and reflections on the world, serving as a basis for thought-provoking art that reflects his life attitudes. He describes his graphic aesthetic with three words: playful, striking, and thought-out. His playful approach involves abstracting letters to the point of near unreadability, making the artworks striking as they require viewers to engage more deeply to decipher the message. The inclusion of hidden elements that subconsciously influence the viewer further underscores the meticulous thought process behind each piece. Wagner humorously states that if he weren't a graphic designer, he would still find ways to incorporate design into other roles, like a window cleaner or cashier, demonstrating his profound passion for his craft. #SteffenWagner #GraphicDesign #Typography #ProductDesign #ArtisticProcess #ExpressiveDesign #CreativeInspiration #FunkyRetro #HomeDecoration

Fluting, an ancient architectural technique characterized by shallow grooves across a surface, is experiencing a significant resurgence in interior design. This trend is valued for its ability to add texture, character, and a touch of Art Deco glamour to modern homes, moving beyond its traditional use in columns to become a key feature in various interior applications. The article highlights nine ways interior designers are incorporating fluting into their projects, emphasizing its versatility and aesthetic appeal. One prominent application of fluting is in kitchen islands, transforming them into chic focal points. Design experts like Laura Butler-Madden favor fluting for its textural quality, often using it in gloss finishes to create a contrast with matte cabinetry and allow other design elements, such as wooden flooring, to stand out. Australian Maek Residences demonstrate how fluted kitchen islands can beautifully juxtapose with darker elements and serve as a backdrop for smooth, pale wood furniture. Fluted wall dividers and glass paneling offer an effective solution for maintaining light while ensuring privacy. Interior design studio Day True utilizes fluted glass in cabinet doors and bespoke feature elements like room dividers and shower screens. This application adds texture and a play of light, drawing inspiration from classical architecture to create dramatic backdrops or conceal joins and doors. Kitchen cabinetry also benefits from fluting, allowing for bold and serene statements. Victoria Spencer-Eves of VEVES interior design emphasizes fluting as a way to add texture and depth without relying on obvious patterns that might quickly date a design. She notes the tactile nature of fluting, which invites interaction and appeals to human senses, aligning with a minimalist yet architectural design approach. Bathrooms incorporate fluting in vanity units, adding elegance and texture. Ham Interiors showcases blush pink fluted vanity units, highlighting how fluted pieces can integrate into both contemporary and traditional schemes. Michelle Gerson Interiors further demonstrates fluting’s potential in bathroom design with wide vanity units featuring integrated drawers and cabinetry. Beyond large surfaces, fluting is used as a subtle detail in furnishings, such as banquette seating in dining areas. California-based Dart Studio illustrates how fluted seating can create an inviting and sophisticated atmosphere, reminiscent of smart restaurant interiors. Fluting is also making its way into bedrooms through hotel-style headboards. Russian interior design agency Quadro Room uses fluting both vertically for grandeur and horizontally for a luxurious feel, often as a fixed installation behind the bed. Art Deco-inspired fluted lighting fixtures are currently popular. Emily Bizley of Studio Bizley notes that this trend, while nodding to 1930s elegance, is made more accessible by modern manufacturing techniques like CNC cutting. Fluted lighting, along with reeded glass in cabinets, adds fine lines and texture, creating balance and harmony, especially when paired with monolithic elements like ceramic baths or swirly marble surfaces. Finally, fluting serves as a wall material, offering intriguing design possibilities. Day True's dining room design uses fluted walls to define open-plan spaces, providing an architectural counterpoint to large windows and potentially offering acoustic insulation. London-based Studio Clement demonstrates open fluting for dividing galleried open-plan areas, allowing light to filter through and adding architectural interest, warmth, and texture to hallways. #FlutingTrend #InteriorDesign #TextureInDesign #ArtDecoGlamour #KitchenDesign #BathroomDesign #ArchitecturalDetails #HomeDecor #DesignVersatility

The article explores current and emerging wall art trends, emphasizing art's crucial role in interior design. It highlights how art, often a significant investment, shapes the mood, texture, and personality of a home. Designers such as Amy Lau and Natalia Miyar view art as a foundational element, using it to introduce color and build a cohesive design narrative. The piece focuses on several key trends that are gaining traction or experiencing a resurgence in popularity. One prominent trend is the revival of vintage neon signs, which add a distinctive character and retro charm to interiors. Originating from advertisements in the 1960s, these brightly lit artworks are now seeing a boom, partly fueled by social media platforms like TikTok. Designers like Molly Torres Portnof utilize custom neon signs to create visual interest and infuse energy into living spaces, demonstrating how they can be tastefully integrated into modern decor. Textured tapestries and wall hangings are another significant trend, moving beyond their traditional associations to find a place in contemporary settings. Designers, including Pablo López Navarro of Casa Josephine, are incorporating textiles like patchwork, Asian textiles, and historical tapestries to bring warmth, coziness, and depth to rooms. This approach challenges the conventional use of tapestries, proving their versatility in blending with modern pieces and creating a unique aesthetic. The article also discusses the growing interest in line-drawn frescos, which transform walls into canvases for minimalist and elegant art. By eliminating traditional framing, these murals, exemplified by the work of Florence Bamberger, offer an architectural and graphic quality, reflecting the surrounding environment or specific design inspirations. This trend provides a unique, personalized artwork that becomes an integral part of the interior's structure. Abstract and colorful art is presented as a strong trend, driven by its psychological impact and ability to uplift spirits. Celine Erlam from Indie & Co notes that clients are increasingly seeking vibrant, block-color prints to brighten their schemes. The article advises thoughtful integration of these pieces, ensuring they either complement or deliberately contrast with the room's existing color palette to create focal points. The use of colorful art to invigorate subdued or neutral palettes is highlighted as a strategic design choice. Mead Quin’s design, featuring a Damien Hirst piece in a white room, illustrates how bold art can provide expression and personality within a restrained interior. This allows homeowners to invest in art that holds personal meaning, regardless of the artist's renown, as a means of personal expression. The growing emphasis on establishing personal art collections, rather than solely focusing on well-known pieces, is also discussed. Kati Curtis encourages homeowners to collect art that resonates with them, including affordable finds from charity shops or antique stores. This approach prioritizes personal narrative and style, allowing individuals to curate a diverse collection that reflects their life experiences and artistic preferences. Ceramic wall art, featuring tastefully hung plates and bowls, offers a rustic yet modern aesthetic. This trend, seen in high-profile homes like Gwyneth Paltrow's, brings texture and a sense of local craftsmanship to interiors. Pablo López Navarro explains that this trend evokes traditional decoration while maintaining a contemporary feel, conveying casualness and relaxation through handmade ceramics. Finally, the article touches upon the trend of incorporating tongue-in-cheek and playful wall art, aligning with a broader appreciation for kitsch and vintage styles. Designs like Studio HÁM's colorful Andy Warhol-inspired kitchen piece demonstrate how art can introduce humor and upliftment. The article concludes by stressing the importance of adventurous framing, suggesting that mixed frames and thoughtful use of negative space can enhance each artwork's identity and visual impact. #WallArtTrends #InteriorDesign #HomeDecor #NeonSigns #Tapestries #FrescoArt #AbstractArt #ArtCollection #CeramicArt

Blank walls present a common design challenge in any space, with their placement, dimensions, and impact on a room dictating the best approach. While traditional solutions involve wall art, wallpaper, accent colors, or frame molding, an alternative offers both architectural interest and functionality: wall sconces. These three-dimensional fixtures can provide the appearance of built-in, expensive elements, even when they are budget-friendly or DIY creations. Designer Shalena Smith highlights their ability to add elegance and make a statement with a clean, simple aesthetic. Wall sconces offer significant beauty and functionality. Available from numerous retailers, they come in wired or unwired options, using candles or bulbs. For those looking to avoid electrical work, many sconces plug into outlets with discreetly concealed cords. Flame-less battery-operated candles, such as those found in Pottery Barn's Artisan Candle Sconces, offer a solution for areas without outlets or wiring, with many featuring remote-controlled operation to cast a warm glow. The variety of designs available ensures that sconces can complement diverse aesthetics, from beaded and vintage-inspired glass fixtures for boho rooms to black metal lanterns for farmhouse decor, and minimalist designs for contemporary spaces. Fabric-covered shades and taper candle sconces further expand the options for adding light and visual interest. DIY alternatives provide creative and cost-effective ways to incorporate sconces. For example, one can create a simple wall sconce using inexpensive materials like wooden wall plaques, square dowels, and wood glue, as demonstrated by YouTuber treshaja. Another glamorous DIY option involves transforming an old wooden plaque with adhesive mirror tiles to create sparkling glass sconces. An innovative approach uses a popular IKEA plastic bag holder to craft a stylish and inexpensive fabric sconce. Sconces are versatile and can be strategically placed to complement existing artwork or gallery walls, or to flank prominent features such as doorways, windows, and fireplaces. They are particularly effective for narrow walls in hallways and entryways, providing a dynamic element without occupying much space. Additionally, sconces can enhance the illumination of other wall pieces, such as using LED sconces to highlight paintings, offering both decorative appeal and practical lighting. #WallSconces #HomeDecor #InteriorDesign #DIYHomeDecor #Lighting #DesignHacks #Glamour #FunctionalDecor

The article highlights the recent collaboration between Mark & Graham, a personalized lifestyle brand, and Sanderson, a British design group, which introduces a new collection of gifts and decor featuring Sanderson's iconic floral prints. This partnership is particularly exciting for those looking to infuse their homes with vibrant colors and soft floral patterns, especially during the colder months. The collaboration draws upon Sanderson's rich heritage, a brand that was granted a Royal Warrant in 1924 for supplying fabrics and wallcoverings to the British royal family, signifying over a century of trusted elegance. Mark & Graham's in-house design team meticulously selected six signature floral prints from Sanderson's extensive archives, some dating back over a hundred years, such as the Rose & Peony print from 1914 and the recolored Hollyhocks print. These historic designs are now featured across a diverse range of products, including everything from practical items like beach totes and pet bowls to decorative pieces like ceramic tissue box covers, luxury chess sets, and elegant packing cubes. The collection incorporates various textures and patterns, including woven raffia, subtle stripes, blooming flowers, and distinct inky botanical motifs. The article showcases several key items from the collection that stand out for their design and functionality. Among the recommended pieces are a Sanderson Ceramic Ring Holder, a versatile 3-in-1 Chess, Checkers, and Dominoes Game Set, and a 5-Piece Packing Cube Set, all adorned with the unique floral patterns. Other notable items include the Sanderson Ceramic Frame, featuring a scalloped trim and patterned border, and the Sanderson Ceramic Vase, available in different sizes and patterns to suit various floral arrangements. Additionally, the collection offers a Sanderson Dresser Top Jewelry Box, a Sanderson Dual Travel Organizer to keep accessories neat on the go, a Sanderson Scalloped Ceramic Catchall for everyday essentials, a Sanderson Scalloped Raffia Box for stylish storage, and a Sanderson Ceramic Tissue Box, designed to elevate mundane household items. The collaboration provides an opportunity for individuals to incorporate a touch of 'grandmillennial flair' into their living spaces, blending classic elegance with modern functionality. These pieces are presented as ideal options for housewarming gifts or as personal additions to one's home decor, offering a blend of historical charm and contemporary appeal. The collection celebrates timeless floral designs, making them accessible for everyday use and home enhancement. #MarkAndGraham #Sanderson #FloralDecor #HomeAccessories #BritishDesign #RoyalWarrant #SpringDecor #GrandmillennialStyle #InteriorDesign

Design Miami/ Basel returned for its 13th edition, showcasing a diverse collection of new creative projects, iconic designs, and conceptual interpretations within the design genre. The event, held in the Herzog & de Meuron-designed fairgrounds, featured 43 international galleries representing modern and contemporary design, alongside ten special Curio presentations and large-scale installations, marking a significant celebration of both culture and commerce. This overview highlights several key installations and collections that captured attention. One notable presentation was the ‘(Con)temporary Home’ by Brazilian brand ETEL, designed by Italian architecture firm Superluna. This Collectors Lounge was conceptualized as a domestic environment, enclosed within a steel frame that subtly separated it from the fair's activity. The interior featured a curated mix of contemporary and historical Brazilian design pieces, complemented by photographs from Ruy Teixeira. A significant portion of the furniture offered to guests for relaxation, accompanied by champagne, included pieces by Jorge Zalszupin, honoring the Brazilian master on his 96th birthday. New York gallery Friedman Benda presented Nendo’s 'Watercolour Collection,' a series of 18 pieces designed to evoke the illusion of watercolor paintings on paper. Crafted from folded metal sheets, these objects utilized a special finishing technique to mimic paper, then hand-painted to create a light blue watercolor effect. The collection reimagined traditional furniture forms into abstract compositions, with the paint interacting with the shapes to produce a poetic, illusory quality. Belgian gallery Maniera collaborated with Dutch architect Anne Holtrop to present new works, including furniture, lighting, and accessories. These pieces formed micro-architectures that reflected Holtrop's distinct aesthetic, characterized by his unique sense of shape and material. Maniera's ongoing commitment involves commissioning architects to translate their signature styles into smaller-scale design objects. Design at Large, the annual initiative by Design Miami/ Basel, was curated by photographer François Halard in 2018. Halard explored the enduring impact of design through a series of nine diverse projects from the 20th and 21st centuries. The exhibition featured architectural elements by Jean Prouvé, interiors by Gaetano Pesce for the Dujardin children’s store, and a micro-architecture by RDAI. Halard's curatorial vision aimed to connect past influences with present and future design trends, emphasizing the continuity of ideas in art and design. ‘A New Layer Taiwan,’ presented by Spazio Nobile Gallery, showcased an initiative by the National Taiwanese Craft Research and Development Institute. This project fostered collaborations between Taiwanese craftsmen and international designers. Curator Lise Coirier brought together seven designers who worked with local artisans to produce a range of pieces, including ceramic works by Anton Alvarez and BCXSY, bamboo furniture by Sebastian Herkner and Jin Kuramoto, and lacquer objects by Julie Richoz and Wonmin Park. Olivier van Herpt, an Eindhoven graduate, presented 'Blue and White' for VIVID. This collection highlighted his unique ceramic 3D printing technique, which creates a distinct aesthetic. The series drew inspiration from the Delft tradition of blue porcelain, with cobalt pigment applied by hand before extrusion, resulting in a radial gradient pattern that symbolizes the collaboration between human interaction and machine precision. This project was initially commissioned by the Gemeentemuseum Den Haag. Calvin Klein made its debut at Design Miami/ Basel with an installation featuring Gaetano Pesce’s 'Feltri' chair, designed in 1987 for Cassina. The installation, inspired by a barn, was reinterpreted by creative director Raf Simons using vintage American heirloom quilts from the 19th and 20th centuries. It showcased 100 limited edition numbered chairs, marking a unique cross-disciplinary presentation. Lastly, 'Origins: Design from the Ancient World' was presented by Galerie Chenel and Oscar Humphries. Following his successful Curio installation from the previous year, Humphries, in collaboration with Paris’ Galerie Chenel, displayed Roman design for the first time at a design fair. The collection featured Greco-Roman artifacts, design, and architectural elements from 200 BC to approximately 200 AD, including columns, capitals, urns, and fragmentary sections from interiors and furniture. This exhibition aimed to introduce this material to a new audience and provide a fresh context, demonstrating the fundamental synergy and enduring influence of ancient design on contemporary genres. #DesignMiamiBasel #CollectibleDesign #ContemporaryDesign #DesignExhibition #ArchitecturalDesign #FurnitureDesign #ArtAndDesign #InteriorDesign #Craftsmanship

The National Gallery of Art initiated a significant digitization project in 2013, focusing on its extensive collection of approximately 18,000 watercolors from the Index of American Design. This index, established in 1935 as a component of the Federal Art Project under the Works Progress Administration, operated for six years, employing around 1,000 artists. Their primary task was to create visual records of American design items, spanning from the colonial period through the 19th century. The core objective of the project was dual-natured: to foster the creation of new art while simultaneously documenting historical design. Each watercolor functions as a distinct artistic piece, attributed to a specific artist, yet it also serves as a meticulous record of the often-anonymous design and craftsmanship of earlier periods. The artists frequently worked directly from the original objects, allowing them to capture an extraordinary level of detail through the delicate medium of watercolor. The collection's recently added images showcase a diverse range of objects, from a peacock feather fan to various architectural ironwork ornaments. The watercolor paintings by Gilbert Sackerman, particularly those depicting cast and ornamental iron, stand out for their aesthetic appeal. Sackerman's artistic approach is evident in his use of color and shadow to bring specific elements of each image to the forefront, while backgrounds are typically rendered in subdued beige tones. Unlike many paintings in the index that present small objects against plain white surfaces, Sackerman's works convey a sense of broader environmental context. These pieces offer an idealized and charming depiction of a well-kept America, a portrayal that stands in stark contrast to the harsh realities of the Great Depression, the period during which these artworks were created. The Index of American Design represents a significant historical effort to preserve and document the material culture of the United States. It highlights the artistry and skill of both the original designers and craftsmen of the depicted objects, as well as the artists who meticulously rendered them in watercolor. The digitization initiative by the National Gallery of Art ensures that these valuable historical and artistic records are accessible to a wider audience, offering insights into American design, art, and the socio-economic context of the 1930s. #AmericanDesign #WatercolorArt #NationalGalleryOfArt #IndexOfAmericanDesign #FederalArtProject #WorksProgressAdministration #HistoricalArt #MaterialCulture #DepressionEra

The article addresses the contemporary relevance of gallery walls in home decor, a popular method for displaying art and prints. It acknowledges that gallery walls have recently faced scrutiny, with some branding them as 'too put together' or outdated. However, interior designers Elizabeth Bennett of Kobel + Co. and Hayley English of Hayley English Interiors suggest that the continued relevance of gallery walls depends on the desired design intent for a space. If the goal is a collected, artistic space with eclectic elements, a traditional gallery wall incorporating mixed media and frame styles can still be effective. The piece highlights that while the conventional display of matching artwork sets may be waning, innovative approaches can keep the gallery wall concept fresh and modern. One key recommendation is to 'mix it up' by ensuring a gallery wall is personal and reflective of individual style. This involves integrating artwork collected over time, representing personal taste, and combining various mediums to introduce interest and texture. Hayley English suggests that if curating multiple pieces feels overwhelming, a scenic hand-painted or wallpaper panel could serve as an alternative. Another modern approach discussed is going 'oversized.' The article advises against using numerous small framed artworks, which can appear chaotic and muddled, drawing the eye in too many directions and making a space feel cluttered. Instead, hanging two or three oversized art pieces can make a bold statement and bring the room to life. Mounting artwork is also suggested as a technique to occupy more wall space effectively and allow individual pieces to stand out prominently. The importance of including original artwork is emphasized to add authenticity. This doesn't necessarily mean expensive heritage pieces; original drawings or photographs that evoke specific feelings are equally valuable. Elizabeth Bennett stresses that genuine artwork—such as vintage oil paintings, drawings, and photography mixed together—will inherently appear more sophisticated than pre-curated digital art sets. The advice is to avoid pre-selected sets that can feel forced or inauthentic, leading to an uninspired and old-fashioned look. Placement, or the 'right place, right time,' is crucial for a modern gallery wall. The article notes that living room gallery walls, particularly those placed behind a sofa, can seem dated due to their repetitive nature. Alternative locations are proposed to refresh the concept. Displaying a gallery wall as staircase wall decor is presented as a way to enliven an often-uninspiring area, offering new visual discoveries. Curating a gallery wall in a bathroom is another novel idea, especially when tiles cover only half the wall, allowing the painted section to showcase beloved artwork, potentially with vintage or thrifted frames to complement traditional bathroom designs. Finally, for those with a minimalist aesthetic, the article suggests choosing similar scales for artwork. Modern minimal homes can benefit from grids of artwork featuring clean lines and uniform scales. Elizabeth Bennett advises that for a streamlined result, repeating imagery in the same scale and format can achieve a clean and tailored look suitable for all art mediums. These updated strategies aim to ensure that gallery walls remain a relevant and stylish element in contemporary interior design. #GalleryWalls #InteriorDesign #HomeDecor #ArtDisplay #ModernInteriors #DesignTrends #PersonalStyle #OversizedArt #OriginalArtwork

The annual St. George Area Parade of Homes serves as a significant platform for showcasing the latest innovations and aesthetic directions in home design. This event brings together builders, designers, and architects who unveil a variety of homes, each incorporating contemporary trends and inspiring ideas. The 2024 iteration of the parade highlighted several prominent design elements that are influencing current home aesthetics and functionality. These trends offer valuable insights for individuals planning to redecorate or build new homes, demonstrating how professional designers are integrating modern styles into living spaces. One of the notable trends observed was the widespread use of 'Fabulous Fluting.' Fluted and ribbed elements, which add textural depth and visual interest, continue to be popular in interior design. An example of this was seen in a Desert Color Resort home, where designer Becki Owens collaborated with Split Rock Custom Homes to implement a full-scale fluted wall treatment. This application transformed a plain wall into a rhythmic and sculptural feature, enhancing the overall sophistication and tactile experience of the space. The incorporation of such detailed architectural elements suggests a move towards more artisanal and less overtly minimalist interiors. Another enduring trend highlighted at the parade was the prevalence of 'Curves & Swerves.' Curved lines and rounded forms contribute to a softer, more fluid aesthetic within homes, departing from the sharp angles that have dominated modern design for some time. A prime illustration of this trend was found in a home developed by Adams & Company Construction and CopperHaus Design. This residence featured a distinctly curved glass wall that elegantly enclosed a hallway. This design choice not only introduced a sense of fluidity but also created an intriguing visual experience, blurring the lines between indoor and outdoor spaces and fostering a sense of wonder for occupants and visitors alike. The continuity of this trend underscores a desire for comfort and organic flow in residential architecture. The emphasis on intellectual and personal expression was evident through the 'Book Smarts' trend, where curated books were prominently displayed as both decorative and intellectual statements. Homes featured inventive and abundant arrangements of books, moving beyond mere storage to artistic presentation. In a Hurricane residence built by American Heritage Homes, House West Design showcased open books and stacked volumes, arranging them like sculptural pieces. This approach elevates books from functional items to aesthetic objects, reflecting homeowners' personalities and interests while adding a touch of learned elegance to the interiors. It suggests a growing appreciation for personal libraries and literary elements in home decor. Finally, the resurgence of 'Plaster Finishes' marked another significant trend. Decorative plaster, particularly Venetian plaster, was utilized to add warmth, texture, and visual interest to various surfaces. Juniper Design Collective employed Venetian plaster to accentuate a soaring range hood in a custom kitchen built by Jensen + Sons Construction. This application brought a nuanced, artisanal quality to a functional kitchen element, demonstrating how traditional materials can be reinterpreted in contemporary settings. The return of plaster finishes suggests a desire for natural textures and handcrafted aesthetics, moving away from overly polished or artificial surfaces to create more inviting and character-rich environments. #HomeDesign #InteriorTrends #StGeorgeParadeOfHomes #ArchitecturalDesign #FlutedElements #CurvedDesign #BookDisplay #PlasterFinishes #HomeDecor

Successfully hanging an art collection requires meticulous planning and careful consideration, encompassing everything from selecting appropriate fixtures and frames to creating a cohesive visual narrative among grouped artworks. Experts in art installation, interior design, and gallery direction offer comprehensive advice on optimizing the display of art in domestic settings. The initial step involves a thorough assessment of the chosen space, considering the artwork's size, potential physical obstacles, and the overall visual flow of the room. Guy Morey, operations director at Momart, an art installation service, emphasizes the importance of measuring both the walls and the narrowest points of entry into the building to avoid issues with oversized pieces or artworks that might be too imposing for a home environment. Planning the arrangement beforehand is crucial; collectors can collaborate with installers to experiment with different placements by leaning artworks against walls to determine the most aesthetically pleasing configuration. Some installers leverage 3D modeling software for precise planning. General guidelines exist for hanging height, with a consistent center-line often recommended across all artworks in a room. This center-line is typically set at eye-level or 120 centimeters from the ceiling to the artwork's center, though it may vary depending on the piece's size. Smaller works can be grouped around a shared center-line, while larger pieces might require individual placement. Lighting is another critical factor, influencing both the aesthetic appeal and preservation of an artwork. Interior designer Verity Woolf, director of Woolf Interiors, advises considering natural light exposure to prevent damage and suggests incorporating artificial lighting solutions, such as concealed ceiling lights that can be adjusted to suit different artwork sizes. Frame selection also plays a significant role in an artwork's presentation and narrative. Woolf highlights framing as an art form in itself, noting that an unsuitable frame can diminish a piece's impact, while a well-chosen one can enhance its meaning. Technical details, such as fixings, are equally important. John Paul Black, managing director of Art Works Exhibition Services, recommends implementing a versatile hanging system, such as aluminum rails hidden in cornices with wires, to facilitate easy rearrangement and temporary storage of artworks, especially to protect them from sunlight at certain times of the year. Unlike gallery settings, private homes present unique challenges with limited space and numerous obstacles like furniture, radiators, and fireplaces. These elements can affect the optimal placement and center-line of an artwork. Ben Cotton, director of Hang-Up Gallery, stresses the importance of harmonizing artworks with existing furniture. He advises against rigidly adhering to gallery-style hanging heights in a home, encouraging collectors to adapt to their space to maintain balance. Furthermore, creating a visual connection between artworks within a collection is essential for a cohesive display. This can be achieved through shared color palettes, themes, genres, or even by featuring the same artist, ultimately forming a compelling narrative for the viewer. #ArtCollection #ArtInstallation #InteriorDesign #HomeDecor #ArtDisplay #FramingArt #LightingArt #ArtPlacement #ArtHangingSystems