The Art of Jacquard textile collection by Dedar

Italian textile manufacturer Dedar has launched a new collection of furnishing fabrics called "Geometric patterns," which blends graphic art with textiles. This collection features abstract lines and vibrant geometric shapes, making the fabrics suitable for both upholstery and curtains. The designs aim to introduce a playful and dynamic aesthetic to interior spaces. One notable fabric within the collection is Andirivieni, a double-faced material that utilizes contrasting colors to form an abstract representation of maps. This design is offered in six distinct color combinations, reflecting what Dedar describes as a "dual personality" with a "lively spirit" and a "subtle sense of play." The versatility of Andirivieni suggests its use in creating visually engaging and multi-dimensional interior elements. Another distinctive fabric in the collection is Volver, which is crafted using the traditional brocatelle technique. This method produces a raised texture that accentuates the contrast between matte and lustrous threads, adding depth and sophistication to the material. Volver's design is intended to draw attention to its intricate construction and the interplay of different finishes. The collection also includes Regimental, a fabric featuring a striped pattern inspired by traditional British school uniforms. Dedar characterizes Regimental as having rigorous lines yet bright, contrasting colors, imparting an "exuberant and comfortable spirit." This particular design combines a classic aesthetic with a modern, lively feel, suitable for contemporary interiors looking for a touch of structured vibrancy. Additionally, the Zai Saman fabric is part of the Geometric patterns collection. It showcases a geometric pattern embroidered on linen, available in a palette of desert-inspired tones. Zai Saman, like other fabrics in the collection, emphasizes intricate geometric lines and patterns, contributing to the overall theme of combining graphic art with functional textiles. The use of linen adds a natural texture and drape, enhancing its appeal for various furnishing applications. Dedar's "Geometric patterns" collection seeks to provide designers and consumers with a range of innovative and aesthetically rich fabric options. Each fabric, through its unique design and manufacturing technique, aims to transform living spaces with its distinct visual and tactile qualities, whether through abstract map-like patterns, contrasting textures, classic stripes, or embroidered geometric motifs. The collection as a whole offers diverse choices for enhancing upholstery and curtain designs with artistic geometric flair. #GeometricPatterns #FabricCollection #DedarTextiles #InteriorDesign #UpholsteryFabric #CurtainFabric #TextileDesign #HomeDecor #AbstractArt

Italian textile manufacturer Dedar has launched its new "Velvets" collection, an extensive range of velvet fabrics available in various luxurious and lustrous colors. This collection integrates a wide array of high-quality yarns, including wool, silk, cotton, mohair, and linen, resulting in ultra-soft textiles suitable for diverse applications in interior design. The Velvets line is designed to offer both aesthetic appeal and practical durability. The collection boasts a rich and varied color palette, encompassing everything from deep, vibrant hues to fabrics adorned with bold prints, intricate graphic motifs, and sophisticated geometric patterns. This broad selection allows for versatile use across different design schemes and preferences, providing options for both classic and contemporary interiors. Functionality is a key aspect of the Velvets collection, as these fabrics are designed for a wide range of applications. They can be used for upholstery, providing a soft yet resilient covering for furniture pieces like sofas and armchairs. Additionally, the fabrics are suitable for creating elegant curtains, drapes, and other decorative elements, enabling designers and homeowners to introduce texture and color throughout a space. Among the notable designs within the Velvets range is "Splendido," a velvet characterized by its bulky yet soft composition of silk and viscose. This particular fabric features a four-millimeter pile, offering a plush feel while maintaining elasticity and resistance to wear. Its robust nature makes it especially well-suited for intensive use, such as in high-traffic seating areas. Another distinguished offering in the collection is "Vladimiro," an exceptionally soft velvet crafted from kid mohair. This premium mohair is sourced from the first shear of Angora goats, known for its superior softness and luster. Beyond its luxurious feel, Vladimiro velvet is inherently durable and fire-retardant, adding a layer of safety and longevity to its sophisticated appeal. The Elektra velvet is also part of this comprehensive collection, distinguished by its luminous long-pile texture. This fabric is an ideal choice for curtains and seating, combining aesthetic brilliance with practical considerations, as it is both washable and hardwearing. Its ease of maintenance, coupled with its elegant appearance, makes it a versatile option for various interior settings. Finally, the "Romeo & Giulietta" fabric stands out as a precious silk velvet. It is renowned for its soft-to-the-touch quality and distinctive silky sheen, which adds a touch of opulence to any piece it adorns. This fabric embodies the luxurious essence of the Velvets collection, offering a refined option for upscale interior textile needs. The Dedar Velvets collection collectively represents a comprehensive and high-quality solution for textile requirements in sophisticated interior design projects. #VelvetsTextileCollection #DedarFabrics #InteriorDesign #Upholstery #LuxuryTextiles #SilkVelvet #MohairVelvet #HomeDecor

Jacquard fabric is renowned for its durability, intricate patterns, and ornate aesthetic, and has maintained its popularity since its inception in the early 1800s. The term 'jacquard' does not refer to a specific material or print, but rather to a weaving method that creates raised motifs directly into the fabric using a specialized loom known as the jacquard loom. Unlike most fabrics where patterns are applied after weaving, jacquard patterns are an integral part of the fabric's construction. This unique process ensures that patterns, such as those in cotton jacquard, are less prone to warping or fading compared to surface-printed designs. Sarah Henry, executive director of La Manufacture Cogolin, highlights that this method results in a fabric of superior quality and distinctiveness, noting its capacity to blend graphic patterns with textures or to function purely as a textured material. Jacquard can be produced from nearly any fiber, ranging from luxurious silks and organic linens to common cottons. Contemporary designers frequently incorporate jacquard into various interior styles, including elegant couches, upholstered banquettes, throw pillows, and metallic placemats. Its textural surfaces and luxurious connotations make it a favored choice. Textile artists and fashion designers like Diane Von Furstenberg and Marc Jacobs often utilize jacquard and damask prints in their creations. Randy Kemper, head of design at Ingrao, Inc., emphasizes that jacquard weaving introduces a rich complexity to fabrics, enriching rooms and upholstery, and that the technique adds texture to solid fabrics, making them suitable for modern interiors. Jonathan Savage, of Savage Interior Design, primarily uses jacquards for upholstery due to their structured nature, which prevents wrinkling and maintains a refined appearance, ideal for clean-lined and formal spaces. He prefers contemporary, organic jacquard patterns over traditional damask, advising against overuse. High-end decor companies and textile brands specialize in jacquard weaving. La Manufacture Cogolin, for example, produces sophisticated jacquard area rugs by combining velvet with thicker yarns to achieve three-dimensional textures. The company's jacquard weaving history in Paris dates back to the 1920s, with current production utilizing 19th-century jacquard handlooms modified to weave patterned rugs more efficiently, a change that helped the company remain viable. The jacquard loom, named after its French inventor Joseph Marie Jacquard, revolutionized textile production by automating the creation of elaborately patterned fabrics. Pre-jacquard, the drawloom, likely originating in China around the second century BC, allowed for pattern creation by manually raising and lowering warp threads. However, this process was labor-intensive, required multiple weavers, and resulted in costly fabrics accessible only to the wealthy. The invention of the power loom by Edmund Cartwright in 1785 facilitated mass production of simple fabrics but lacked the decorative capabilities of handwoven textiles. Jacquard's innovation, patented in 1800 and perfected by 1804, replaced the manual labor of the drawboy with a programmable system using interchangeable punch cards. These cards served as instructions for the loom, controlling which warp threads were raised to create specific patterns, akin to a player piano. This system offered unprecedented design flexibility and allowed for precise replication of intricate patterns. The jacquard loom's punch card system significantly influenced other fields, notably inspiring Charles Babbage's design of the first mechanical computer in the 1820s. Babbage recognized the potential of Jacquard's binary code concept (hole vs. no hole) for mathematical calculations. Ada Lovelace further expanded on this, suggesting that the machine could manipulate various types of data, laying the groundwork for modern computer programming. The profound impact of Jacquard’s invention extends beyond textiles, fundamentally changing how we interact with technology and shaping the digital age. #JacquardFabric #TextileHistory #HomeDecor #InteriorDesign #WeavingTechnology #TextileManufacturing #DesignInnovation #FabricPatterns

This article explores the significance of an eighth-century Umayyad wool tapestry fragment from the Metropolitan Museum of Art's collection, reconsidering common impressions of Islamic art. While Islamic art is often perceived through its precise and repetitive ornamental motifs, this tapestry fragment offers a counter-example, revealing a more playful spirit in early Islamic textiles. Dated to the mid-eighth century and attributed to the Umayyad Caliphate, the fragment features stylized rosettes and floral motifs that resemble bright flower sprays on a grassy background. The fragmentary nature of the tapestry, lacking selvedges, suggests it was part of a larger furnishing fabric. Reconstructing Umayyad homes from the seventh or eighth century is challenging due to the scarcity of extant textiles. However, wall paintings and mosaics from Umayyad palaces provide insights into their interior decorations. For instance, a fresco at Qusayr 'Amra depicts a heavily draped space with veiled doorways and colonnades, and covered seating, contrasting with the current austere state of these palaces. Similarly, floor mosaics at Khirbat al-Mafjar, edged with tassels, suggest the presence of carpets of similar size, reinforcing the idea of textile use in these grand spaces. The author posits that the floral tapestry fragment might have served as a wool seat or wall furnishing. A key aspect distinguishing this fragment is the irregular design and varied color application of its motifs, a departure from the strict repetitive or symmetrical layouts prevalent in decorative art from later Islamic dynasties. The central part of the textile, a band with a green background, features two rows of medallion-style rosettes. Each of the seven rosettes is distinct in color or form, with individually rendered petals. The flower bouquets on the red band, forming the edge, also exhibit this intentional variation, ensuring no two neighboring motifs are identical. This deliberate variety in repetition is paralleled in the facade of Qasr al-Mshatta, where carved rosettes within hexagons and hexafoils display distinct content while maintaining a general form. The interspaces are densely covered with grape leaves, alongside depictions of lions, griffins, and peacocks. This suggests that such decorative programs were designed to evoke a garden, mimicking the fabled Paradise garden, through a diverse array of flora and fauna. Therefore, the rosette tapestry fragment, whether used as a hanging or a cover, would have functioned as a segment of a portable garden. Spreading the tapestry would have transformed the environment, releasing a miniature Paradise and adding a sense of glamour, as if the owner were seated on a floral lawn or surrounded by fantastic creatures. This interpretation highlights the innovative and artistic intent behind early Islamic textile design, showcasing a sophisticated approach to decoration that went beyond mere repetition to create dynamic and symbolic spaces. #IslamicArt #UmayyadTextiles #TextileHistory #DecorativeArts #MetropolitanMuseum #ArtInterpretation #GardenMotifs #HomeDecor

Moiré, a textile characterized by its distinctive undulating, rippling effect, has emerged as a dominant trend in interior design in 2024. Traditionally crafted from silk, this material is celebrated for its ability to reflect light and impart a sense of formality and gravitas, regardless of its color. The article highlights an example of its application in a Georgian townhouse in Holland Park, where designer Studio Ashby and architect William Smalley used petal-pink moiré from Dedar to entirely swathe a dressing room. This choice creates a sublimely decadent and romantic atmosphere, underscoring the fabric's aesthetic appeal. The origins of moiré are rooted in China, a historical hub of silk production and skilled weaving. The technique, also known as watered silk, historically involves calendaring. This process applies heat and pressure to folded lengths of rib-weave fabric using large, textured rollers. The pressure flattens and distorts parts of the warp and weft, resulting in the characteristic wood-grain-like pattern. Modern advancements also allow moiré-like designs to be printed onto various surfaces, including textiles and ceramics, expanding its versatility in contemporary design. Moiré's historical significance extends from the 17th to the 19th centuries, where it was synonymous with ceremony and formality. Queen Victoria and Russian Tsar Peter the Great famously wore blue moiré ribbon sashes. The fabric was a staple in court and evening attire, with historical fashion records from 1893 and 1897 mentioning dinner dresses made of 'rose-pink figured moiré' and 'white moiré' accents. The Victoria & Albert Museum even houses an opulent gown crafted from Prussian-blue moiré, adorned with metal buttons and chenille flowers, demonstrating its luxurious past. In more recent times, moiré continued to be favored by renowned fashion designers like Christian Dior and Yves Saint Laurent. Its popularity also transitioned seamlessly into interiors. An inventory from Hampton Court Palace in 1695 reveals that lengths of silk moiré were used to complement tapestries, adding richness to state rooms. Centuries later, during Jacqueline Kennedy's tenure in the White House, apricot moiré upholstered bergère chairs, and deep leafy-green moiré adorned the walls of a salon. These historical and contemporary examples underscore moiré's enduring appeal as a material that can evoke a sense of royalty and sophisticated elegance in any space. #MoiréFabric #InteriorDesignTrends #SilkTextiles #HomeDecoration #LuxuryInteriors #TextileHistory #GeorgianTownhouse #Dedar

The Ditchling Museum of Art + Craft in Ditchling, England, is currently hosting an exhibition titled "Double Weave: Bourne and Allen’s Modernist Textiles," which aims to reintroduce the British textile company Bourne and Allen, and its founders Hilary Bourne and Barbara Allen, into the annals of design history. Active in the mid-1900s, Bourne and Allen produced a range of iconic woven fabrics, yet their contributions have largely faded from public memory. This retrospective seeks to correct that oversight by highlighting their innovative craftsmanship and personal story. Hilary Bourne and Barbara Allen were partners in both life and business, and their company was known for blending modernist aesthetics with traditional craft techniques. They frequently utilized natural materials and plant dyes, sourcing wools from across the United Kingdom. Their products, which included woven scarves, tweeds, and furnishing fabrics, were carried by prestigious department stores and design houses such as Liberty of London, Heal’s, and Fortnum and Mason. Bourne and Allen also played a significant role in major theatrical and film productions of their era. Notably, they designed expansive stage curtains and furnishing fabrics for the Royal Festival Hall in London, built for the 1951 Festival of Britain. Their work extended to Hollywood, where they produced 52,000 yards of custom-woven fabric for the costumes of 452 actors and 25,000 extras in the epic film *Ben-Hur*. The exhibition, which is the culmination of extensive archival research conducted by a team of ten, delves into the duo’s work, their lives, and their four-decade-long relationship. Various sections of the show explore their distinct weaving techniques, the materials they employed, their global inspirations, their personal backgrounds, and key career achievements. The displayed fabrics, encompassing both swatches and longer lengths, illustrate Bourne and Allen’s unique aesthetic, characterized by bright primary colors derived from natural dyes like indigo (blue), madder (red), and weld (yellow), contrasted with the natural hues of undyed sheep’s wool. The use of Lurex alongside dark yarns and varied weaving techniques such as plain weave, double weave, chenille, ikat, and floats of thick hand-spun yarns, created alluring textures. The exhibition contextualizes Bourne and Allen within a vibrant, women-centered community of craftspeople in England that predated World War II. A display titled “Map of intimacies: Women’s networks of love, friendship, and textile practice” visually charts the collaborative and intimate relationships among the women—friends, lovers, companions, business partners, and sisters—who influenced Bourne’s and Allen’s lives and work. To demonstrate the enduring relevance of Bourne and Allen's legacy, the exhibition incorporates commissions from two contemporary artists, Poppy Fuller Abbott and Omeima Mudawi-Rowlings. Abbott, a weaver from Sussex, created a piece inspired by the mid-century designers' techniques using indigo-dyed linen with silk floats, and also wove textile samples that replicate Bourne and Allen's fabrics for visitors to handle. A film in a dedicated viewing room documents Abbott’s weaving process. Mudawi-Rowlings's site-specific installation, "Drawn to the Light (نور)," features long swathes of silk dyed with plant materials and printed with personal symbols, reflecting themes of interconnectedness and personal identity amidst global events. Ultimately, "Double Weave" serves as a meditation on themes of love, loss, home, and land. It underscores how the act of weaving, both literally and metaphorically, involves intertwining traditions across time and place, fostering a continuous dialogue through generations in the form of fabric. #TextileHistory #MidCenturyDesign #ModernistTextiles #BritishDesign #Craftsmanship #QueerHistory #DitchlingMuseum #TextileArt #ExhibitionReview

Dedar, an Italian brand, has unveiled a new collection of textile wall coverings, drawing inspiration from the grand tapestries found in historical castles. The collection aims to bring a luxurious and warm atmosphere to interiors, while also offering practical benefits such as sound softening. It features four distinct patterned designs and a selection of classic weaves, each crafted to showcase the subtle tactile qualities of natural fibers like linen and jute. The patterned designs within the collection include collaborations with the illustration duo Icinori. Among these is "This Must Be the Place," which features a paradisiacal bird motif. Another design is "Altronde," depicting a magical cityscape. Both of these intricate designs are screen-printed, color by color, onto pure linen, emphasizing the artisanal quality and depth of the artwork. The process of screen-printing allows for rich, layered visuals that contribute to the collection's sophisticated aesthetic. Alongside the patterned offerings, Dedar's collection also introduces new classic weaves. These designs are characterized by their subtle textures, which evoke the raw, natural feel of materials. "Mandolino" and "Toile Bâche" are two such designs, recalling the appearance of a painter's unprimed canvas. Another notable weave, "Fitzcarraldo," draws inspiration from the fine yarns of a gauzy chambray shirt, providing a delicate yet robust texture. Raffaele Fabrizio, the artistic director at Dedar, highlights the collection's overall contribution to interior spaces. He notes that the wall coverings are designed to create an environment infused with texture, a palpable sense of warmth, and an overarching feeling of comfort. This emphasis on sensory experience underscores the brand's commitment to enhancing living spaces through thoughtful design and high-quality materials. The collection is a product of Dedar's expertise in textile design, focusing on wall coverings that serve both aesthetic and functional purposes. By referencing historical luxury while incorporating contemporary design elements, Dedar aims to offer versatile options for interior designers and homeowners seeking to elevate their spaces. The use of natural fibers and meticulous screen-printing techniques are central to the collection's appeal, providing durable and visually striking solutions for wall decoration. The wall coverings are presented as a means to transform a room's ambiance, making it more inviting and acoustically pleasing, akin to the effect of traditional castle tapestries. #TextileWallCoverings #Dedar #InteriorDesign #HomeDecor #LuxuryTextiles #ScreenPrintedDesigns #NaturalFibers #WallDecoration

The "Crafting Topographies" exhibition showcases hand-embroidered wall art created by Brinda Dudhat of Morii Design, celebrating traditional Indian weaving techniques and the significant role of women artisans. Curated by designer Suchi Reddy and hosted at Salon Design, the exhibition highlights the historical and cultural richness embedded in these fiber art pieces, which utilize dyeing, weaving, stitching, and embroidery to create intricate, story-telling topographies. Brinda Dudhat's Morii Design operates on principles of collaboration, sustainability, and community engagement. The studio works with over 80 artisans across India, ensuring ethical practices and fair, living wages for their skilled work. Morii Design is committed to local sourcing and preserving authentic traditional techniques, making each piece respectful of its heritage and the labor involved. The inherent slowness and meditative nature of hand-embroidery infuse each artwork with care, love, and attention, reflecting the energy of its creation. Suchi Reddy, the exhibition's curator, emphasizes Morii Design's transformative approach to Indian craftsmanship. Reddy notes that the studio's dedication to showcasing age-old techniques, particularly those rooted in the wisdom and artistry of Indian women, fosters a powerful dialogue between the past and present. She views the exhibition as more than just textiles; it is a celebration of the stories, skills, and soul embedded within every thread, offering a contemporary lens through which to appreciate Indian craftsmanship. Reddy's own design philosophy, evident in her studio Reddymade, focuses on neuroaesthetics—the study of how environmental design impacts the brain. Her guiding principle, "form follows feeling," underscores the deep connection between human experience and the built environment. This perspective aligns with the ethos of "Crafting Topographies," which seeks to expose the profound, often overlooked, work of women artisans throughout centuries. The continuous, meditative movements of artisans' hands over the fabric imbue the pieces with an inherent energy and history. Salon Design, a contemporary art gallery in New York City's Tribeca, provides an elegant setting for the exhibition. The gallery, founded by designer and art advisor Amanda Pratt, frames the works in salon-style vignettes, allowing viewers to experience the art in an intimate and familiar manner, akin to walking through a brownstone. This presentation elevates the contemporary pieces, making them both accessible and highly collectible. The exhibition thus not only displays beautiful art but also draws attention to the cultural significance and meticulous process behind each creation. #HandEmbroideredArt #IndianCraftsmanship #MoriiDesign #SuchiReddy #SalonDesign #FiberArt #TextileArt #EthicalDesign #CulturalHeritage

The article identifies Dedar's 'Tiger Mountain' fabric as a dominant trend in interior design, noting its widespread appearance across various applications like sofas, armchairs, banquette seats, and pillows. The fabric, described as a luxurious jacquard velvet, draws inspiration from Tibetan carpets and features a design reminiscent of a tiger's coat. It is available in three distinct colorways: fauve (amber and black), graphite (white and black), and petrified wood (green with light accents). Despite its recent ubiquity, 'Tiger Mountain' was originally introduced by Dedar in 2018. The resurgence of its popularity is attributed to a broader trend of decorating with animal prints, though this specific fabric offers a more subtle and whimsical interpretation of the tiger motif. Unlike traditional, overtly bold tiger prints, Dedar's design deconstructs the animal pattern, infusing a fresh and playful energy into interiors. Designers are leveraging the fabric's dynamic nature and versatility in diverse ways, incorporating it into seat cushions for dining room benches, bedroom headboards, couches, and even bedspreads. The fabric consistently delivers an appealing aesthetic across these varied applications. The article suggests that 'Tiger Mountain' stands out due to its artistic character and ability to add visual and textural interest without overwhelming a space. For those interested in incorporating this trend, the article recommends requesting a sample from Dedar for bespoke projects or exploring upholstered pieces featuring 'Tiger Mountain' on platforms like 1stDibs, acknowledging the potentially high price point. It also offers more accessible alternatives that capture a similar whimsical allure, including an AllModern Gela Upholstered Ottoman with a deconstructed zig-zag and abstract motif, a Lulu and Georgia Tiger Jacquard Pillow with a vintage-inspired all-over tiger motif in black and ivory, and an AllModern Matra Dining Chair featuring a graphic print similar to 'Tiger Mountain' on its backrest. Ultimately, the article positions 'Tiger Mountain' as a defining fabric trend for the upcoming year, highlighting its blend of whimsical artistry, luxurious texture, and versatile application in modern interior design. #InteriorDesign #FabricTrends #TigerMountain #DedarMilano #AnimalPrintDecor #HomeDecor #JacquardVelvet #DesignTrends #TexturalInterest

Dedar Milano has unveiled its latest 'light and luminous' fabric collection, launched at the close of 2024, which serves to reinterpret and enrich the brand's existing textile library. This new collection features 20 sheer materials and wallcoverings, expanding upon Dedar’s White Writings family with new embroideries, vibrant color palettes, and metallic voiles. The collection introduces a range of transparencies, blending natural fibers such as linen and hemp with wool to create lightweight and airy designs. Textural sheers incorporate innovative materials like raffia and explore new weaving techniques to vary levels of transparency. While many of these sheer fabrics utilize muted tones to emphasize subtle details, Dedar Milano has also incorporated bold colors, offering a broader spectrum of design possibilities. A notable addition is "Lumillumina," inspired by the Finnish word for snow, which reinterprets the geometric motifs of Dedar’s "Nevicava" fabric. This new iteration integrates metallic veins, drawing parallels to jewelry from the early 20th century, evoking the styles of René Lalique and Georges Fouquet, as well as the fashion trends of the Roaring Twenties. Further expansions in the transparencies category include two soft, drapey sheers with distinct natural characteristics. One is a slightly slubbed, linen-rich canvas weave, and the other is "Cnossian," a hemp fabric that presents white nuances with a warm, golden undertone. The collection also features wool fabrics, offering an unusual billowy interpretation for luminous curtains. "Leporello" introduces a wavy, three-dimensional effect through pleating, while other flexible fabrics use wool yarns of varying thicknesses in sparse weaves to achieve increasing levels of transparency. A textured woolly canvas weave, "Autrebois," highlights the importance of texture within the collection. Two fire-retardant fabrics, available in double width, are also part of the transparencies range, offering washability and crease resistance. These fabrics present a diverse array of styles, from the micro-geometric patterns of "Kin" to linen-like textures, all enhanced by airy weaves and bulky ondé threads. The collection also features fabrics enriched with embroidery and artistic touches, particularly within the "White Writings" family. These new sheers introduce unprecedented visual and design elements, creating volumetric chiaroscuro effects through the play of light and shadow when viewed against a backlight. The embroidered motifs, sometimes placed on existing collection grounds, allow for numerous combinations, from conventional to more surprising and personal expressions. The degree of transparency varies significantly, from dense and precise embroideries like "Cielo" and "Aplomb" to more irregular textures on a "Wide Linen Sablé" ground. Several embroidered motifs revisit patterns from "Promenade Kafkaïenne" and "Liberabirinto," applying them to different grounds. "Dancing the Horizon" uses a fine, densely warped merino wool, while "Regolith" features pure linen with a textural translucency. "Rabdomante" stands out with its energetic, instinctive topstitched motif on a semi-transparent, extra-fine wool ground, offering a sartorial drape. "Calicanto Lieve" explores an abstract combination of materials, animated by expressive fil coupé fringes. Dedar Milano has also transformed these sheer fabrics into wallcoverings. "Goral Wall" combines organic shapes resembling branches or corals with a background of thick, uneven matka silk. "Lost in Nazca Wall" depicts a prehistoric labyrinth on pure silk shantung, while "Za Wall" and "Ze Wall" superimpose pictorial motifs on frosted linen chintz and laminated jute, respectively. "Idola Theatri Wall" features an amplified light burnishing effect that creates an evanescent forest on laminated jute, and "Yamnaya Letters Wall" evokes imaginary alphabets. "Marmore Wall" draws inspiration from Japanese suminagashi and Turkish ebru marbling, outlining gentle, circular patterns inspired by nature. In the realm of moiré wallcoverings, Dedar, a pioneer in reinventing moiré since the 1990s, introduces "Amoir Libre" and "Amoir Fou." These new moirés, with their multicoloured "tail" effects, complement silkier fabrics and marbled textile wallcoverings, coexisting harmoniously with the new white-based wallcoverings in the collection. Dedar's approach to moiré has modernized its use, moving beyond classical applications to embrace affinities with natural forms like marble veining and ocean waves, giving it a contemporary appeal. #DedarMilano #FabricCollection #TextileDesign #InteriorDesign #Wallcoverings #SheerFabrics #LuxuryTextiles #Moiré #WhiteWritings

Najd is a new textile collection, designed by architect and designer Tristan Auer for Lelièvre Paris, drawing inspiration from Saudi Arabian design. The collection's distinctive natural and earthy color palette is directly referenced from the Najd desert, which also provides the collection with its name. The creative process behind Najd involved Tristan Auer's deep dive into the traditional architecture of the central Saudi Arabian region, translating its colors and structural lines into textile designs. The Najd desert, characterized by its vast expanses of natural earth and clay hues, served as a primary muse. This inspiration manifests in the striking interplay of orthogonal architectural structures and the organic, flowing lines of the desert's endless dunes. This juxtaposition of structured forms and natural fluidity is a core theme throughout the collection. The Najd textile collection offers a variety of designs, incorporating both geometric patterns and diverse textured surfaces. These visual and tactile elements are designed to evoke the rugged yet refined aesthetic of the desert landscape and its historical built environment. The collection is fabricated using a range of materials, including cotton Jacquard, linen, and high-performance fabrics, catering to various applications and functional requirements while maintaining the collection's aesthetic integrity. The use of these materials ensures both durability and a luxurious feel, aligning with the brand's commitment to quality. This collection, available through Dezeen Showroom, is positioned as a sophisticated option for interior design professionals and enthusiasts seeking to incorporate elements of exotic, culturally rich aesthetics into contemporary spaces. The colorways, while natural and earthy, are presented in a manner that allows for versatility in different design schemes, from minimalist to more ornate settings. By offering a blend of traditional inspiration and modern material technology, the Najd collection aims to provide textiles that are both aesthetically compelling and practical for everyday use. Lelièvre Paris emphasizes that the collection not only captures the visual essence of the Najd region but also its spirit, making it more than just a decorative element but a narrative piece within an interior. The choice of Tristan Auer, known for his work in luxury interior design and architecture, underscores the collection's high-end appeal and its potential to elevate diverse living and commercial environments. The collaboration highlights a bridge between traditional cultural motifs and contemporary design sensibilities, resulting in a textile offering that is both timeless and relevant. #TextileCollection #TristanAuer #LelièvreParis #SaudiArabianDesign #EarthTones #GeometricPatterns #TexturedFabrics #InteriorDesign #HomeDecoration

Maharam has partnered with fashion designer Sander Lak to launch a new collection of woollen upholstery textiles. This collaboration builds on Lak's previous work, particularly his final A/W20 collection for his former label, Sies Marjan, which closed due to the pandemic. During that period, Lak explored sustainable practices, including a collaboration with Cornell University on eco-printing techniques and transforming sustainable wool upholstery from textile artist Claudy Jongstra into fashion pieces. The initial connection between Lak and Maharam was facilitated through Jongstra's Drenthe Heath fabric, an exclusive Maharam textile made from indigenous sheep in the Netherlands. Lak utilized this fabric, custom-dyed with natural materials like walnut husks and indigo, for a Sies Marjan collection and a limited-edition capsule line for the Guggenheim store. The current collaboration with Maharam, part of their wool initiative launched in February 2021, focuses on three new wool fabrics. This initiative aims to address the growing interest in renewable natural fabrics for furniture upholstery while re-evaluating classic textiles. The collection includes materials made from post-consumer recycled wool and wool processed entirely at a single location to minimize environmental impact. Lak designed two woven felts, Gemma, which offers a solid and saturated finish, and Gemma Multi, an intricate and reversible mélange. The third fabric, Terra, is a chunky basket-weave wool that draws inspiration from his fashion background with its cable knit-like texture. These textiles are the result of extensive color experimentation, showcasing the inherent depth and nuances of wool. The combined palette across these fabrics features 150 colors, offering a fresh perspective on upholstery options. Lak's creative process for color selection is intuitive and imagery-based rather than relying on traditional color systems. He collects a vast database of random images and selects colors that resonate with him. He then creates mood boards with different color samples and observes them under various lighting conditions—afternoon, morning, and artificial light—to find the perfect shade. This method reflects his deep engagement with color and texture. The color palette for these wool textiles draws inspiration from a diverse range of sources, including natural elements like plants and sky colors, as well as mundane objects like cheese and crackers, milkshakes, and smoothies. He also incorporates bold color combinations found in digital icons and corporate branding from American companies such as McDonald’s, Dunkin’ Donuts, and Baskin-Robbins. Lak aimed to use these often aggressive or unnatural corporate colors and integrate them into natural fibers, creating a deliberate clash that mirrors contemporary life's opposing emotions. Mary Murphy, Maharam’s senior vice president of design, highlights Lak’s strong instinct for color, noting his preference for unusual and mysterious shades that transform under different light. She emphasizes his ability to combine unexpected elements, particularly in the mélange fabric, which reveals different aspects upon closer inspection. The collaboration allowed Lak creative freedom to express his distinct point of view, which Maharam values for bringing a fresh flavor to their line. The company views this as the beginning of a long-term partnership, with more collaborations anticipated in the future, underscoring their commitment to innovative design. #SanderLak #Maharam #TextileDesign #UpholsteryFabrics #WoolCollection #SustainableTextiles #ColorPalette #InteriorDesign #FashionCollaboration

Taschen's "The Book of Printed Fabrics. From the 16th century until today" is a significant publication that offers an in-depth exploration of printed textiles. This two-volume work showcases the extensive collection of the Musée de l’Impression sur étoffes (The Museum of Printed Fabrics) located in Mulhouse, France, which is renowned as the world's most important repository of printed textiles, featuring contributions from four continents. The museum, established in the 1800s, stands as a testament to the thriving fabric printing industry of its time. The book, meticulously compiled by author Aziza Gril-Mariotte, comprises approximately 900 images spread across 888 pages. It includes accompanying texts in English, French, and German, designed to provide a comprehensive and enriching experience for both casual readers and researchers. The first volume delves into a wide array of international designs, highlighting textiles from regions such as India and Japan. This volume features a diverse range of patterns, from intricate floral motifs to abstract designs, including classic paisleys and sophisticated batik-inspired gradients. A notable section in this volume explores the profound impact of industrialization on the evolution of printing processes and, consequently, on fabric design. Moving into the second volume, the focus shifts to the advanced techniques and creative innovations in fabric production during the nineteenth and twentieth centuries. This section reveals how many designs, color palettes, and methods from these earlier periods possess a surprisingly contemporary aesthetic, often appearing as if they could have originated in the digital age. Examples such as the Ground Patterns created by Mizzi Ebert and Adele Bettelheim in 1904, alongside dress fabric samples from 1880, demonstrate a foresight in design that resonates with modern sensibilities. The book is currently available for pre-order through Taschen's online store, priced at 200 USD. This publication is not merely a collection of images and historical data; it serves as a valuable resource for understanding the artistic, cultural, and technological journey of printed fabrics. It underscores the enduring legacy of textile design and its continuous influence on aesthetics across different eras. The work emphasizes the historical significance of the Mulhouse museum's collection, positioning it as a crucial reference for anyone interested in the history and development of printed textiles. #TextileHistory #PrintedFabrics #TaschenBooks #MuséeDeLImpressionSurEtoffes #FabricDesign #DesignHistory #TextileArt #MulhouseMuseum #ArtBooks

The "Contemporary Persia" collection is a collaborative effort between Swiss textile manufacturer Christian Fischbacher and architect Hadi Teherani. This collection, comprising 10 distinct fabrics in various color variations, aims to encapsulate the diverse and contrasting hues of the Iranian landscape. The fabrics, intended for both curtains and upholstery, are crafted from a blend of materials such as linen, wool, and polyester. The color palette of the collection features soft shades of blush pink, earthy sand tones, muted greens, and occasional splashes of blue and blush accents. Camilla D. Fischbacher, the creative director of Christian Fischbacher, emphasized the significant creative power and rich cultural heritage of Iran that inspired their dialogue with Teherani. Teherani himself noted that fabrics play a crucial role in completing architectural spaces, offering a tactile and sensory experience. The article highlights ten specific fabrics from this collection, each with unique characteristics and inspirations. One featured fabric is "Roya," a jacquard curtain fabric inspired by the landscape and colors of the Iranian Aladagh Mountains. It is a blend of viscose, cotton, and polyester yarns, which allows for intricate color gradients. "Roya" is available in five color options and its name translates to "beautiful dream" in Persian. "Afsun" is another curtain fabric, notable for its design that subtly incorporates the Persian letters H and T, representing Hadi Teherani's initials. This semi-transparent fabric is described as lively and comes in four flame-retardant color options, making it suitable for commercial applications. "Baran," an upholstery fabric, is created by combining linen warp with loosely twisted weft yarn, resulting in an uneven structure and a geometric dobby weave. Its name, meaning "rain" in Persian, alludes to the scarcity of rain in many parts of Iran. "Diba" is a graphic patterned upholstery fabric made from a natural fiber blend, giving it a lively and soft surface texture with a Panama weave. Its design draws inspiration from the distinctive brickwork commonly found in Persian architecture. Similarly, "Mitra," an upholstery fabric, uses wool yarns combined with linen warp to create a voluminous texture, also inspired by traditional Iranian brickwork. "Tara" is a medium-weight upholstery fabric featuring a dobby weave with loosely twisted yarns that rise to the surface, giving it a bold visual effect. "Donya," a densely woven wool satin, is versatile enough for both curtains and upholstery. It is treated with a special dirt-repellent finish, enhancing its durability and stain resistance. "Donya" is offered in ten colors, including earth, vanilla, blue, and salmon red tones. "Dasht," meaning "desert" in Persian, is another dual-purpose fabric for curtains and upholstery. It comes in ten colorways and is made from linen-cotton chenille yarn, providing an elegant, velvety appearance with a grainy touch. "Nasim" is a transparent voile with a cotton-like feel, available in four colors that coordinate with the "Donya" fabric. Finally, "Aramesh," which signifies "calmness, peace of mind, and bliss" in Persian, is a matt, transparent, and lightweight fabric suitable for curtains. It is flame-retardant and available in mélange colors. Christian Fischbacher, a family-owned company with over 200 years of history, specializes in interior fabrics, accessories, carpets, and wallpapers. The collection reflects the combined creative vision of Camilla D. Fischbacher and Hadi Teherani, both of whom have Iranian roots but reside in Europe. #TextileDesign #FabricCollection #IranianLandscape #InteriorDesign #HadiTeherani #ChristianFischbacher #UpholsteryFabric #CurtainFabric #ContemporaryPersia

The city of Mulhouse in eastern France holds significant historical importance within the textile community, serving as a prominent center for textile manufacturing in the early 19th century. Today, it is home to the Musée de l’Impression sur Étoffes, a museum dedicated to preserving and showcasing the history of fabric printing from the 17th century to the present day. To bring the museum's extensive collection to a wider audience, TASCHEN has published a two-volume set titled "The Book of Printed Fabrics: From the 16th Century Until Today." Authored and compiled by Aziza Gril-Mariotte, an art historian, textiles specialist, teacher, and former head of the Mulhouse museum, these books feature high-resolution images of nearly 900 textile pieces. These artifacts represent a broad geographical and historical scope, spanning four continents. The collection begins by tracing the origins of textile design in the Far East, detailing how these patterns subsequently influenced and were adopted by European manufacturers. It explores the evolution of popular textile styles, such as toile de Jouy, and the development of specific color palettes over time. The second volume shifts its focus to the innovations that characterized textile manufacturing and design during the 19th and 20th centuries. This includes an examination of the emergence of distinctive cashmere motifs and the increasing prevalence of natural and floral depictions in fabric designs. The books delve into the technical and artistic advancements that shaped the industry during these periods, illustrating the continuous evolution of textile art. Beyond their informative content, these volumes are designed to be aesthetically pleasing objects. Their bright red spines and an accompanying slipcase are intended to make them visually appealing as decorative items for various home settings, including coffee tables, side tables, or bookshelves. The publication aims to serve as both a comprehensive resource for textile enthusiasts and a beautiful addition to any interior, showcasing the artistry and historical richness of printed fabrics. #TextileDesign #FabricPrinting #DesignBooks #MulhouseMuseum #TASCHEN #ArtHistory #HomeDecor #PatternDesign #FrenchTextiles

This article provides a comprehensive guide to various fabric patterns, detailing their history, characteristics, and appropriate uses in home decor. It clarifies the distinctions between often-confused patterns like gingham, plaid, and tartan, and introduces others such as Jacquard, Damask, Brocade, and Houndstooth. The piece emphasizes the importance of considering size, scale, and color coordination when incorporating patterns into a room, suggesting that while many of these patterns are traditionally found in classic homes, they can also serve as effective accents in eclectic or bohemian settings. Jacquard, named after its inventor, Joseph Jacquard, and the loom he created in the early 1800s, encompasses complex woven designs often featuring large, repeating, tapestry-like patterns. Today, digital printing facilitates the creation of these intricate textures. Common Jacquard patterns include brocade and damask, and they are versatile enough for upholstery, drapes, bed linens, and pillows, often seen in muted neutrals or ombre effects. Damask, with origins tracing back to 300 B.C. China, is characterized by woven designs of feathers, flowers, and geometrics, typically in varying shades of a single color. Its heavy drape makes it suitable for dramatic curtains and provides light-blocking benefits. Damask designs are reversible, allowing for coordinated yet distinct applications, such as using one side for wallpaper and the other for complementary drapes or pillows. Brocade, another pattern often created on a Jacquard loom, is distinguished by its opulent, typically floral designs incorporating multiple colors and metallic threads. Historically significant in religious garments and tapestries across China, India, and Europe, brocade's weighty texture makes it ideal for bedding, headboards, dining room chairs, and formal living room window treatments. Scotland's cultural icon, Tartan, is a distinct pattern of three or more colors with horizontally and vertically matching stripes that historically identified clans. Its durability makes it suitable for pillows, blankets, ottomans, and club chairs. While traditional tartans feature rich reds, blues, and greens, modern interpretations may utilize tonal variations in grays. Plaid, though often considered a separate pattern, is a Scottish-Gaelic term for a piece of tartan worn on the shoulder. Unlike tartan, plaid stripes do not necessarily match in width and color. It commonly appears on den sofas, in rustic cabins, and on boys' bedspreads but can also be creatively used for artwork or tile on bathroom floors or kitchen backsplashes. Gingham is a lightweight cotton blend woven with a single color on a white background, creating a checked pattern, typically about an inch wide. Originating from the Dutch colonies of Malaysia and Indonesia, it is now widely recognized and is commonly used for table linens, dish towels, and kitchen valances. Its identical appearance on both sides makes it suitable for sheer curtains. However, small gingham patterns are advised against for large items like couches due to their potential to appear too busy, and its lightweight nature makes it less suitable for high-traffic areas. Houndstooth, a two-tone pattern with jagged or broken checks resembling dog's teeth, dates back to 360 B.C. Sweden, though it gained fame in Scotland with its classic black and white rendition. While traditional, it can also be found in aqua, yellow, and pink for bedrooms or sun porches. The article advises against pairing houndstooth with stripes or plaids and recommends using it sparingly due to its strong visual impact. #FabricPatterns #HomeDecor #InteriorDesign #Jacquard #Damask #Brocade #Tartan #Plaid #Gingham #Houndstooth