Jonathan Matti updates Old World aesthetics for today’s clients

Colton Dixon Winger, cofounder and owner of the styling agency Cuniform, has expanded his expertise from personal wardrobe curation to sustainable home design. Winger’s approach, rooted in the philosophy of repurposing existing items and sourcing vintage or pre-owned goods, mirrors his successful strategy in fashion. His venture into interior design began with "rearranging services," where he would reorganize a client's current furniture and decorative items to create more cohesive and intentional spaces. This hands-on method stems from his lifelong interest in architecture and interior arrangement, a passion he cultivated since childhood by constantly reconfiguring his own room. Now, Cuniform Interiors operates with a dedicated head of design, Bethanie Jones, and offers comprehensive services, including 3D renderings, structural modifications, and full kitchen remodels. A significant challenge in this expansion has been adapting the sustainable ethos from clothing to home furnishings, as the logistics of transporting and sourcing larger items differ considerably. However, the core principle remains consistent: prioritize what a client already possesses and, when new items are necessary, seek out sustainable and second-hand options. One notable project involved Mia Malave, a long-standing styling client of Cuniform, who sought Winger’s help when moving into a midcentury modern home in West Seattle. Malave desired an open, interconnected living space where conversations could easily flow between the living room, dining room, and kitchen. Her existing kitchen, however, was enclosed by walls and low-hanging cabinets, obstructing the desired open-plan feel. Winger collaborated with Casual Surveying Co., a local design-build firm, to dismantle these barriers, creating an open-concept kitchen furnished with midcentury-appropriate walnut cabinets and a central oak island. For Malave's guest room, Winger skillfully repurposed her existing rug, table, and other decor, augmenting them with unique finds like a vintage metal ladder from Epic Antique to serve as a blanket holder. The furniture for the ground floor was meticulously sourced, with nearly every piece being vintage or recycled. This commitment to intentional, sustainable sourcing often requires patience, as clients may need to wait longer for the perfect, ethically acquired item rather than settling for readily available new products. For instance, a Parisian desk was acquired from local antique dealer Kassie Keith, and a large bamboo dining table was found on Craigslist for a mere $100, complemented by refurbished German chairs. After several attempts to find a suitable sofa, Bethanie Jones located an investment-quality 1970s Milo Baughman piece from her warehouse, which became a central element in Malave’s living room. Malave, still searching for a coffee table, has embraced the deliberate pace and vintage aesthetic, acknowledging that her preference for timeless, well-preserved older items aligns perfectly with the midcentury character of her home. The process highlights Cuniform's dedication to functional design and conscious consumption, demonstrating that beautiful, meaningful spaces can be created through thoughtful selection and repurposing rather than relying solely on new purchases. #HomeDesign #InteriorDesign #SustainableDesign #VintageFurniture #MidcenturyModern #Repurposing #ConsciousConsumption #WardrobeCurator #SeattleInteriors

The field of interior design is currently witnessing a resurgence of old-world products, which are being reinterpreted with modern sensibilities. This trend is particularly evident in the growing popularity of flecked surfaces, which are gaining traction among designers and consumers alike. These surfaces, often characterized by their intricate patterns and varied textures, offer a unique blend of historical charm and contemporary aesthetic appeal. The 2023 Hospitality Giants report highlights this movement, indicating a strong interest in incorporating these materials into modern design schemes. One prominent example of this trend is Max Lamb’s Marmoreal, a collection of large-aggregate terrazzo slabs and tiles available in White from Dzek. Terrazzo, a composite material made of chips of marble, quartz, granite, or glass set in a binder, has a rich history dating back to ancient Egypt. Lamb's interpretation reintroduces this classic material with a bold, contemporary scale, making it suitable for a wide range of applications, from wall coverings to furniture. The use of large aggregates creates a distinctive visual texture, providing a modern twist on a traditional material. Another notable contribution comes from StudioCharlie with their Fossili terrazzo charger by MIPA. This piece showcases the versatility of terrazzo beyond architectural surfaces, demonstrating its potential for decorative and functional objects within a space. The charger's design emphasizes the material's aesthetic qualities, transforming a utilitarian item into a statement piece that blends old-world craftsmanship with modern design principles. For those seeking more refined options, Artistic Tile offers the Geotzzo Ribbon Black honed terrazzo tile. This tile features a sophisticated black base with subtle flecks, presenting a sleek and elegant option for contemporary interiors. The honing process provides a smooth, matte finish, enhancing the natural beauty of the terrazzo and making it an ideal choice for luxury residential and commercial projects. Its wavy pattern adds a dynamic visual element while maintaining a sense of classic sophistication. Ann Sacks contributes to this trend with their Terrazzo Form Waterfall tile in Vicenza. This tile features a blend of white and darker flecks, creating a natural and organic appearance. The 'Waterfall' designation likely refers to its ability to create a seamless flow when installed, making it suitable for large surface areas like floors and walls. The Vicenza variant brings a regional Italian influence, connecting the material back to its historical European roots while presenting it in a modern format. Beyond traditional stone-based materials, innovation in flecked surfaces also extends to sustainable options. SAS Minimum's Le Pavé surfacing, made of crushed plastic waste, exemplifies this eco-conscious approach. This material, shown in a custom colorway at Sonia Rykiel in Paris, offers a vibrant and environmentally friendly alternative to conventional surfaces. The process of repurposing plastic waste into a durable and aesthetically pleasing material not only addresses sustainability concerns but also introduces a unique, rainbow-speckled texture that is distinctively modern. This application demonstrates that flecked surfaces can be both beautiful and responsible, aligning with contemporary values of environmental stewardship in design. These diverse examples highlight how flecked surfaces, whether through traditional terrazzo or innovative recycled materials, are bridging the gap between historical design and modern aesthetics, offering designers a rich palette of textures and patterns. #FleckedSurfaces #Terrazzo #InteriorDesign #ModernDesign #OldWorldStyle #SustainableMaterials #TileDesign #HospitalityDesign #ArchitecturalSurfaces

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

In 2023, a 1952 Metairie home, after 33 years of ownership, underwent a significant transformation from its previous appearance, characterized by a light blonde brick exterior and a mix of midcentury, contemporary, and New Orleans design elements. The ranch-style house was re-envisioned as a modern, multigenerational residence, incorporating elements that pay homage to its original midcentury style. Architect Nathan Fell noted that many homes built in that era in Metairie often displayed a cautious design approach, which this renovation aimed to transcend. Working with Nathan Fell Architecture, the owners embarked on an extensive renovation of their 4,000-square-foot home. The exterior, particularly the entry and roofline, was redesigned to accentuate midcentury features. Internally, bathrooms were repositioned, a new laundry room was added, and the kitchen area was reconfigured to create a large great room. The comprehensive renovation also involved converting the garage into a cabana with direct access to the pool. The owners, a busy couple with adult children, grandchildren, and an active social life, desired a space that would better accommodate family gatherings and sleepovers. Although the home's footprint remained unchanged, a major internal re-arrangement was necessary. Fell, collaborating with CNG Construction, sought to depart from the home's original reserved design by highlighting its midcentury origins while also creating spaces that fostered openness, diversity, and functionality for the family's lifestyle. To achieve a more expansive and visually dramatic living space with vaulted ceilings, the former dining room was merged with the living room, and the roof was raised and reframed. The renovated exterior now features white-painted brick and a distinctive wooden gable, presenting a unified aesthetic with repointed brick framed by smooth gray stucco. Ipe wood trellises were incorporated to delineate space, and a central ipe gable adorned with glass elements was added for visual depth. Horizontal pavers guide visitors to a new double-door ipe-clad entrance, also framed by a trellis. For the pool and landscaping, Fell partnered with Palmetto Pools + Landscape. The pool was elevated 3 feet, aligning with the main floor, and raised decking was installed, creating a visual effect similar to an internal courtyard. Inside, the design harmoniously blends new, modern, vintage, and heirloom furnishings. The kitchen, inspired by the family's matriarch, was a focal point, designed to be both visually appealing and highly functional for cooking and family bonding. It features double ovens and an efficient exhaust system. The millwork throughout the home, crafted by Daniel Bell, replicates the color of a cherished rosewood dining room table. Quartz countertops and a backlit Cristallo Natural Stone feature wall from Triton Stone provide contrast and dramatic flair against the rosewood-stained millwork. Barlinek, Oak Cannoli 7-inch wide plank engineered wood flooring unifies the kitchen, dining, and great room areas. Multiple seating zones in the great room are connected by the consistent use of quartz for the stone feature wall and the same cabinet and casework materials found in the kitchen. The feature wall includes an inset flat-screen TV and a linear vapor fireplace. A striking element is the multi-tonal ipe wood veneer covering the vaulted ceiling, which creates a subtle link between interior and exterior elements. An I-beam, an architectural challenge, was seamlessly integrated into the gable design and concealed within a trapezoidal shape. The entryway was designed for practicality, featuring a bench and coat closet, setting the tone for a home that successfully merges past and present, innovation and tradition, and reinvents the familiar. #HomeRenovation #MidcenturyModern #NathanFellArchitecture #MetairieHome #ArchitecturalDesign #InteriorDesign #ModernLiving #FamilyHome #CustomMillwork

Ancient symbols are serving as a rich source of inspiration for contemporary designers aiming to imbue meaning into interior spaces. Elements such as the twisted knot, the labyrinth, chequerboard patterns, and the triangle are increasingly appearing in modern furniture, lighting, and wallpaper designs. This trend may be influenced by popular culture's fascination with mysticism, as seen in works like Harry Potter, Game of Thrones, and Lord of the Rings. French designer Mathieu Lehanneur's latest furniture collection, "Illuminations," prominently features the checkerboard pattern on a stone and marble cabinet. Lehanneur notes his long-standing interest in ancient symbols and secret societies, which he incorporates into his designs. The twisted knot, also associated with secret societies, has been reinterpreted as a wall light made of metal rods, symbolizing connection and brotherhood. Another significant symbol in his collection is the triangle, used in a fireplace design. In ancient mythology, the equilateral triangle represented concepts such as woman, God, and fire, and holds particular significance in Freemasonry due to its association with the number three. Lehanneur emphasizes his need for meaningful elements in his work, viewing his "Illuminations" collection as an "ecosystem of symbols" where individuals can discover their own meaning. The checkerboard pattern also played a crucial role in early heraldry, or coats of arms, which emerged in the 12th century when crusaders used symbols on their shields for identification. Stephen Slater, a Fellow of the Heraldry Society of England, explains that simple, geometric patterns were effective for recognition from a distance. Clive Cheesman, a herald of the College of Arms, confirms that geometric heraldry heavily featured checkered patterns. Cheesman suggests that the geometric nature of medieval heraldry, with its stripes, zigzags, chevrons, dots, and bold colors, possesses an "op-arty" aesthetic that appeals to contemporary designers. He notes that a modern black-and-white zigzag pattern would have been recognizable during that period. Belgian design agency Studio Job exemplifies this aesthetic with a conceptual interior for Creutz & Partners in Luxembourg, featuring a black-and-white striped floor. UK-based designer Sue Timney also incorporates bold stripes and geometric patterns into her homewares and rugs, appreciating the introduction of strong, ordered color into interiors after periods of muted designs. Both Studio Job and Timney also engage with more literal interpretations of coats of arms. Job Smeets, co-founder of Studio Job, explains that while heraldic symbols traditionally conveyed power and formality, their studio infuses them with humor and modern context. For Creutz & Partners, they created a fantastical façade installation that included a hand-moulded sign and heraldic flags, using the formal structure of a coat of arms in a contemporary setting. Timney, influenced by her military family background, finds a sense of history, provenance, and security in heraldry, admiring the timeless beauty of its graphic symbolism. Her Ancestral Lineage wallpaper, for instance, is adorned with heraldic symbols. There is a common misconception that heraldic symbols were initially chosen for their inherent meaning. Cheesman clarifies that heraldry was not esoteric; rather, meanings were often attributed to designs after their introduction. Slater further explains that by Tudor times, heralds designed shields to signify illustrious descent, often assigning symbolic attributes to colors, which he dismisses as attempts to create symbology. Certain images, like the heraldic rearing lion, became popular through imitation. Cheesman points out that lions were desirable symbols due to their association with strength, fierceness, and nobility. Beyond heraldry, other ancient sources of symbols carry inherent meanings. Wallpaper designer Jennifer Shorto draws inspiration from stories, fairy tales, myths, and Rosicrucianism. Her interest in 13th and 14th-century murals by artists like Giotto stems from their powerful use of references and symbolism. Shorto’s "Golden Bees" wallpaper features bees, symbols of fertility, productivity, and wisdom across centuries, while her "Joseph’s Maze" wallpaper incorporates the ancient labyrinth, representing a journey. She believes her designs allow people to dream and their minds to wander. Ultimately, whether drawing from heraldry, medieval aesthetics, secret societies, or myths, symbolism continues to offer significant design potential in the 21st century, reflecting that society lives in a highly visual age. #InteriorDesign #AncientSymbols #Heraldry #ContemporaryDesign #DesignInspiration #MathieuLehanneur #StudioJob #SueTimney #JenniferShorto

This article highlights the work of interior designer Chad Graci of Graci Interiors, focusing on a specific project for a young couple with two daughters in Metairie. The couple acquired a new, in-progress house and sought Graci's expertise to infuse it with a blend of tradition and modern freshness, a style Graci terms "21st-century New Traditionalism." The wife, a long-time admirer of Graci's aesthetic, desired a "grown-up" house that was both rooted in classic design and vibrant and fun. Graci notes a shift in younger generations' interest, where "brown furniture" and antiques, once considered outdated, are now being re-embraced for their depth and longevity. He clarifies that this isn't a recreation of past design but a reinterpretation through a new lens, incorporating more color, pattern, and texture while maintaining classic elements. The house, built by Brett Wynn of Quigley Construction, featured a pared-down traditional architectural style, which served as a white framework for Graci's design. The design strategy involved selecting timeless finishes to prevent the house from appearing too new. Graci employed a serene color palette of cream, celadon, peach, brown, and pale blues, punctuated by unexpected color splashes. This approach allows for easier updates over time, as a neutral backdrop with accent hues is less prone to quickly dating than trendy colors. The client expressed immense trust in Graci's decisive guidance, noting that his choices often surpassed her own initial preferences. The design process was organic, starting with the main downstairs living areas: the kitchen, family room, and a sitting room that also functions as a home office. Graci began by anchoring these spaces with quality upholstered pieces, designed with streamlined forms to maximize comfortable seating for the family. He emphasizes the importance of details, such as the roll of an arm, in setting a room's tone. Key principles in Graci's work include scale, custom designs, and supporting local artists and artisans. The project features furniture and art from local talents like Kathy Slater Designs, Christopher Wynn, Chris Wynn, Amanda Tally, Kevin Gillentine Gallery, and Palm Orleans, as well as contemporary abstract paintings by his sister, Christina Graci. Graci also integrates one-of-a-kind pieces sourced from auctions, estate sales, consignment stores, and even his travels, such as a porcelain Chinoiserie lamp, an African stool, and a Chinese console, to create interesting, layered, and complete spaces that avoid predictable choices. Subtle repetition of shapes and colors creates cohesion throughout the home. For instance, the celadon of the lacquered front door is echoed inside, and the modernist Saarinen dining table's oval shape and dark/light contrast are mirrored in the antique Louis XV-style chairs. Philippe Starck ghost counter chairs at the kitchen island reference the Louis chairs. The master bedroom's blue alcove ceiling color is reflected in a Swedish armoire and a Chinoiserie panel. Contrasting elements, like vibrant long-necked azure blue birds and leopard prints, which Graci considers a new neutral, add lively accents. The design also incorporated the couple's existing pieces, giving them new prominence. A vintage gold velvet 1940s chair from the wife's grandmother found a daring new context in the master bedroom's blue tones, and a mirrored inherited from the same grandmother became part of a gallery wall. Graci balanced aesthetics with functionality and budget constraints. The durable Saarinen table serves as both a dining surface and a children's workspace, and the acrylic counter chairs are easy to clean. A sheer gray basket-weave shade was added to the front door to provide privacy while maintaining an open feel. Graci's expertise lies in mixing high and low-priced items, prioritizing quality, scale, and color in all selections. The client praised Graci for making decisions easy and creating a comforting, continuous, and peaceful family home. #InteriorDesign #ChadGraci #NewTraditionalism #HomeDecor #AntiquesIntegration #ColorPalette #LocalArtisans #MetairieHome #FamilyLiving

This article highlights a collaboration between The Hudson Company, a custom mill based in upstate New York, and Schotten & Hansen, a German flooring company, to introduce a line of naturally finished wood products to the U.S. market. The Hudson Company specializes in sustainably sourced and reclaimed wood, and this partnership expands their offerings to include wood from Germany's Bavaria region, which is also sustainably harvested. The defining characteristic of this new product line is Schotten & Hansen's unique finishing process, which emphasizes sustainability and traditional craftsmanship. Unlike typical industrial finishing methods, Schotten & Hansen uses only natural ingredients to treat their wood floors. This commitment to natural processes extends to every stage of finishing, including the use of waxes, oils, and resins derived from natural sources, ensuring that the final product is free from synthetic chemicals. The process involves meticulous hand-finishing techniques that have been passed down through generations of German woodworking. Each piece of wood undergoes a series of manual treatments, including planing, brushing, smoking, and coloring. These traditional methods are not merely for aesthetic appeal but also contribute to the wood's durability and natural texture, creating an authentic old-world feel. The natural ingredients are carefully selected not only to enhance the wood's inherent beauty but also to fill knot holes and other natural imperfections, seamlessly integrating them into the overall design while maintaining the wood's organic character. This approach results in a luxurious natural finish that is both environmentally friendly and aesthetically rich. The partnership aims to cater to a growing demand for sustainable and artisan-crafted building materials in the American market. By combining The Hudson Company's expertise in sustainable sourcing with Schotten & Hansen's traditional German finishing techniques, the collaboration offers a unique product that stands out in the flooring industry. The availability of these products in the U.S. provides architects, designers, and homeowners with access to high-quality, eco-conscious wood flooring and paneling options that embody both natural beauty and historical craftsmanship. This initiative underscores a broader trend towards integrating sustainable practices and traditional artistry into modern home design and construction. #OldWorldCraftsmanship #SustainableWood #NaturalFinishes #GermanWoodworking #LuxuryFlooring #EcoFriendlyMaterials #WoodPaneling #TraditionalMethods #HomeDesign

This article offers an exclusive look into the interior design of 'Meraki Beauty & Wellness,' a salon and spa located in Lahore, co-founded by sisters Saba and Fatima. The establishment is presented as a tranquil retreat, offering a complete beauty experience in a Zen-like environment, strategically located away from the bustling commercial areas of Gulberg and near the burgeoning DHA Phase 5. The salon's interior design is characterized by a harmonious blend of modern and industrial elements, creating a stylish yet comfortable space. The designers deliberately moved away from opulent decorations like typical chandeliers and vibrant colors, opting instead for a minimalist, contemporary aesthetic that promotes serenity and inner peace. This approach is evident in the choice of a muted color palette and natural materials, which define the three distinct zones of the salon. The entry from the staircase area is designed as a dark transition space, leading into a lighter, more open main reception and hair styling area. The second floor features grey-shaded sofa seats for manicure and pedicure sessions, alongside separate rooms for makeup and massage. Additionally, three nail art stations are decorated in shades of navy blue, benefiting from natural sunlight and outside views. Strategic lighting plays a crucial role in enhancing the ambiance and highlighting key interior design elements. The second floor, in particular, exudes a bright and cheerful atmosphere. The owners, Saba and Fatima, emphasize the importance of hygiene, client satisfaction, and continuous in-house training, with Saba having completed multiple training courses in skin and hair from Dubai and New York. The waiting area provides ample seating, and the overall artsy design, infused with contemporary touches, is given a warm character through bright pops of pink and purple against a backdrop of black and grey, breaking potential monotony. The interior is also designed to optimize space, incorporating areas for Pilates and yoga classes, along with a small health bar, creating a homely setting for clients. Functionality and ease of maintenance are also key considerations, as demonstrated by the use of leather upholstered furniture and wall panels that are easy to clean. The decor maintains a simple and functional appeal, reminiscent of a traditional living room, yet includes occasional glamorous accents. Wrought iron encased lights contribute to the sophisticated look without being ostentatious, and subtle gold strokes add an elegant touch. Laser-cut separators and the salon's logo in gold and black serve as central design features. The sisters, strong advocates of minimalism, frequently intend to refresh the salon's look to provide a novel experience for their clientele, ensuring every detail is meticulously managed to offer a high-quality, personalized service. The spa area further exemplifies thoughtful space planning with wooden flooring, racks, and display furniture, complemented by planters and cozy sofas that create a soothing ambiance, catering to the city's style-conscious clientele. #SalonInteriorDesign #SpaWellness #LahoreBeauty #MinimalistDecor #ModernIndustrial #ZenEnvironment #PersonalizedService #SpacePlanning #ClientExperience

This article explores a curated selection of vintage design classics that have been reissued with modern technologies and sustainable updates, demonstrating how iconic pieces from the past can be reimagined for contemporary living. The focus is on a variety of furniture and lighting designs from leading brands and design masters, each offering a blend of historical significance and renewed functionality. One featured piece is the ‘Parigi’ armchair by Aldo Rossi, reissued by UniFor. Originally part of Rossi's vision for an ideal office at the end of the 1980s, this armchair exemplifies his architectural background combined with furniture functionality. Its distinctive slanted black aluminium frame supports a bright red, surprisingly soft polyurethane foam seat, reflecting Rossi's desire to translate personal, fantastic elements into rational, repeatable pieces. The reissue, a Wallpaper* Design Award 2022 winner, maintains the original aesthetic while adapting to modern sensibilities. Charlotte Perriand’s ‘Petit Bureau en Forme Libre’, reissued by Cassina, is another highlight. Designed in 1952 for Perriand's own Montparnasse studio, this freeform desk showcases her pioneering approach to design with its curved forms that allow flexible use. Crafted from solid Canaletto Walnut and available in black, the updated version includes an optional compartment for sockets and cables, seamlessly integrating modern practicalities without compromising its innovative form. This piece also received a Wallpaper* Design Award 2022. The ‘265 Chromatica’ lamp by Paolo Rizzatto for Flos, designed in 1973, is reissued in its original colour-coded concept. Rizzatto's first lighting design, the lamp was initially based on drawings using blue for the moving arm, yellow for the counterweight, and red for the lampshade. This new chromatic edition celebrates Rizzatto's belief that colour defines light and its function within architecture, earning it a Wallpaper* Design Award 2022. The article also revisits Clara Porset’s ‘Butaque’ chair, reissued by Luteca. Porset, a Cuban-born designer who worked in Mexico, is celebrated for her reinterpretation of the traditional Latin American 'Butaque' chair, merging Spanish colonial and pre-Colombian forms. Luteca collaborated with the National Autonomous University of Mexico to faithfully recreate Porset’s 1940s design. CB2 has reissued several pieces by American designer Paul McCobb, including the 1952 ‘Pavilion’ outdoor collection and the 1951 ‘Exposior’ lighting range. The ‘Pavilion’ collection features delicate iron frames and Sunbrella fabrics, while ‘Exposior’ lighting combines brass, wood, and travertine, making these designs accessible to a wider audience while preserving McCobb's legacy. Mario Bellini's ‘Camaleonda’ sofa, designed 50 years ago, is reissued by B&B Italia with a strong sustainable focus. While retaining its modular, contemporary aesthetic, the internal structure is now made from FSC-certified beech wood and recyclable materials, with feet from recycled wood, emphasizing ease of disassembly and environmental responsibility. Very Good & Proper and Isokon Plus have reissued two tables by Bauhaus designer Marcel Breuer, based on blueprints from 1937. One was previously produced at Bauhaus, while the other remained unproduced. The reissue utilizes energy-efficient and environmentally conscious processes, honoring the original experimental designs and their inherent modernist values. Another Mario Bellini design, the ‘Duc-Duc’ sofa from 1976, has been reissued by Cassina. This modular piece, reflecting the free design spirit of its era, maintains faithfulness to the original while incorporating updated measurements and materials for enhanced comfort, including a 100% recycled fibre made from ocean-recovered PET. Acerbis, under new creative direction, has relaunched Giotto Stoppino’s ‘Menhir’ tables. These totemic compositions of colourful marble modules, originally created with company founder Lodovico Acerbis, represent a blend of pioneering Italian design and a commitment to bringing iconic midcentury pieces back to life. Nanna Ditzel’s ‘Arkade’ chair, originally designed in 1983, has been revisited by Brdr Krüger. This piece showcases Ditzel’s blend of traditional craftsmanship, new materials, and elegant geometries, with customization options for fabrics like Kvadrat’s ‘Hallingdal’. Gianfranco Frattini’s ‘Kyoto’ table, inspired by Japanese and Northern Italian woodworking techniques from his 1974 trip to Japan, has been reissued by Poltrona Frau. This table features an interlocking structure with a grid surface of 1,681 squares, where wooden elements dovetail to create a self-supporting, reconfigurable composition, embodying functional design without superfluous decoration. Finally, Cassina and Ginori 1735 collaborated to reissue Le Corbusier’s ‘Prunier’ tableware. Created in 1961 for London’s Prunier restaurant and inspired by his earlier tapestry work, these plates feature stylised motifs hand-applied on enameled white porcelain, merging quality and form. Achille Castiglioni’s ‘Diabolo’ lamp, his last lighting design for Flos from 1998, also returns in three new shades, maintaining its minimal design while referencing traditional Chinese toys. #VintageDesign #DesignClassics #FurnitureDesign #LightingDesign #SustainableDesign #ModernistDesign #ReissuedDesign #InteriorDesign #HomeDecor

Designers are increasingly drawing inspiration from English interiors, and tapestries are emerging as a prominent antique item in stylish spaces. These textiles are being embraced to introduce warmth and character into modern interiors, moving away from formal perceptions to appear cozy and confident. Whitney Romanoff of Meet West notes that tapestries instantly add mystery, romance, and softness, captivating with their historical craftsmanship and visual narratives. This trend signifies a shift towards cultivating atmosphere, reminiscent of English country houses where layered textures, mixed patterns, and a lived-in feel are valued over excessive polish. Modern applications of tapestries emphasize rich, moody aesthetics, often featuring velvets, fringe, and pastoral scenes that contribute texture and depth, creating an intimate, cocooning effect in living spaces and bedrooms. The renewed appeal of tapestries aligns with a broader desire for personalized rather than impeccably polished rooms. Designer Sarah Stacey highlights that tapestries are classic, versatile, and can function as wall art, a means to conceal televisions, or even as material for pillows and upholstery. She notes their ability to read as almost neutral despite intricate designs due to their non-repeating patterns. The growing appreciation for handmade items in an increasingly AI-driven world also contributes to the timing of this trend. For individuals seeking impactful decor without committing to extensive gallery walls or large paintings, a tapestry offers an accessible solution to complete a large wall. Designers recommend specific strategies for styling tapestries. Crystal Sinclair appreciates the texture antique tapestries bring, using them to introduce a sense of history and balance to modern environments. She advocates for pairing them with contemporary furniture to avoid a heavy or theatrical feel, emphasizing that the textile's age becomes an asset when contrasted with clean-lined pieces. Sinclair advises homeowners to be bold with their choices, suggesting that a tapestry should be a room's focal point. Both Stacey and Chiara de Rege agree on the importance of scale, encouraging oversized pieces that can extend almost wall-to-wall or behind furniture, making the layering appear intentional and allowing the tapestry to define the space. Achieving a current aesthetic with tapestries hinges on contrast. Designers stress the importance of combining them with modern furniture, streamlined shapes, or unconventional materials. De Rege particularly enjoys the dynamic tension created by juxtaposing very old tapestries with contemporary elements like steel consoles or modern seating, describing the effect as both grand and subtly satirical. The objective is not to replicate historical period rooms but to use the tapestry as a grounding element, allowing the rest of the decor to feel fresh and contemporary. When sourcing, designers overwhelmingly favor vintage pieces for their unique character and inherent narrative. Sinclair emphasizes the challenge and reward of finding suitable vintage tapestries, while Stacey often searches auctions, flea markets, and online marketplaces. De Rege encourages selecting pieces whose stories resonate with the client and project. In an era where warmth, personality, and thoughtful design are highly valued, tapestries provide a unique blend of intimacy, layering, and groundedness, offering a sense of escapism that aligns with current design sensibilities. #InteriorDesign #HomeDecor #TapestryTrend #AntiqueDecor #DesignInspiration #EnglishInteriors #TextileArt #VintageHome

The article explores the collaboration between designers Stephen Burks and Malika Leiper of Stephen Burks Man Made, and the Italian wood veneer company Alpi, to translate the intricate patterns of Kuba cloth into a contemporary design product. Kuba cloth, a raffia textile handcrafted by the Kuba people of the Democratic Republic of Congo, originated in the 17th century and served as a significant status symbol among the ruling class. While it was once thought that the tradition of Kuba cloth declined after the kingdom's fall due to internal rebellions and colonization, Burks and Leiper discovered during a visit to Kinshasa that this ancient art form is, in fact, thriving among a new generation of artists and makers in villages. Burks clarifies that the perception of Kuba cloth as a 'dying artform' is a Western misconception, often influenced by the commodification of 'prestige cloths.' His and Leiper's practice, Stephen Burks Man Made, is dedicated to demonstrating the current vitality of Kuba art, emphasizing that for Kuba to have a future, it must have a present. Their efforts include producing a documentary, curating an exhibition in Japan, and designing the scenography for an upcoming show at the Mint Museum in Charlotte, North Carolina, all centered on their research into Kuba cloth. A pivotal project in their endeavor is the collaboration with Alpi, a company established in 1919 and renowned for its designer collaborations with figures such as Ettore Sottsass, Alessandro Mendini, Konstantin Grcic, Patricia Urquiola, and Ron Arad. Alpi's president, Vittorio Alpi, expresses a passion for experimentation and invites designers to create unique pieces that push the boundaries of industrial production, granting three-dimensionality to Alpi surfaces. At Design Miami 2025, Burks and Leiper unveiled their collection of sculptural furnishings, titled 'Lost Cloth Object,' which translates the geometric patterns of traditional Kuba textiles. This collection, presented as part of the fair’s 2.0 section curated by Glenn Adamson, serves as a conceptual starting point for a commercial veneer that will be developed with Alpi. Burks highlights that their practice consistently investigates the intersection of craft, community, and industry. The design process involved creating a Kuba-inspired motif using thousands of laser-thin sheets of FSC-certified poplar veneer, a technique that embodies both repetition and variation, mirroring the inherent qualities of Kuba cloth. Leiper explains that each motif in Kuba cloth carries social meaning, indicating the maker or wearer, and often mimics natural shapes, acting as a language in itself. The use of variegated veneers from Alpi’s Legacy Collection adds another layer of significance, as these veneers replicate the appearance of endangered wood species like ebony, teak, rosewood, and zebrawood, without contributing to deforestation. Vittorio Alpi notes that this collection allows for the reproduction of rare woods sustainably. The 'Lost Cloth Object' collection features a curved platform, round stools, and a circular partition with integrated shelving, designed to evoke both Alpi’s postmodern collaborative tradition and the sacred, ceremonial contexts in which Kuba cloth is traditionally used. While the specific sculptural objects will not be mass-produced, the 'Lost Cloth Object' pattern is intended for further development as a commercial veneer. Burks concludes that the project honors the traditions of the Kuba Kingdom by combining African patterns with natural wood in a sculptural, modern application, connecting to Alpi's legacy of surface design. #AfricanTextile #KubaCloth #StephenBurksManMade #Alpi #DesignCollaboration #VeneerDesign #Craftsmanship #DesignMiami #CulturalPreservation

Don Tanani, a new brand and design gallery, has emerged from a collaboration between Egyptian interior design firm Living in Interior and wood producers Ar-Co. This brand aims to offer a fresh perspective on contemporary furniture, interpreting Egyptian design and identity in a timeless manner. The inaugural collection, designed by Lina Al Orabi and titled Duality, features wooden furniture, including tables, consoles, and seating. These pieces are characterized by their curved lines and are crafted using traditional joinery and carving techniques rooted in ancient Egypt. The founders of Don Tanani, members of the Tanani family, express their intention to address a gap in the MENA region and Egyptian design market by elevating design made in Egypt and the Middle East. Their goal is to push the boundaries of Egyptian design and functional art, creating products that blur the line between utility and artistic expression. The brand plans to expand its collection through future collaborations with more Egyptian designers. The Duality collection, a result of a two-year development process, showcases a contemporary design approach deeply embedded in local traditional crafts. The collection draws inspiration from ancient Egyptian beliefs, where objects and art were considered living images, preserving likeness for future generations. The artisans of ancient Egypt imbued static materials with warmth, movement, and life through carving, effectively encapsulating moments in time. This historical reverence for craft is evident in Don Tanani's creations. The furniture pieces in the Duality collection feature sleek wooden forms with curved silhouettes and substantial volumes. Subtle patterns are integrated into the designs, adding a sense of lightness to the wooden structures. The collection skillfully combines natural woods with wood veneer techniques that mirror those employed in ancient Egypt. Furthermore, oxidized wood inlaid with camel bone is utilized to create compelling visual contrasts. This intricate detailing pays homage to ancient Egyptian craftsmanship, where similar inlay techniques were used with precious stones. Ultimately, the Duality collection endeavors to rekindle cultural memories and bridge centuries of craft and design with contemporary aesthetics. It represents the beginning of Don Tanani's journey to elevate Egyptian design and celebrate the creative talent within the region. The brand's commitment to both historical authenticity and modern interpretation positions it as a significant contributor to the evolving landscape of Egyptian design. #EgyptianDesign #FurnitureDesign #ContemporaryDesign #TraditionalCraftsmanship #LinaAlOrabi #DonTanani #InteriorDesign #Woodwork #CulturalHeritage

Mark Mitchell's 'Sunbeam Side Table' is a conceptual piece of furniture designed to replicate the visual phenomenon of sunbeams radiating through clouds, despite the parallel nature of actual sunlight. This design draws inspiration from the optical illusion that makes distant sun rays appear to converge from a single point in the sky. The product, crafted from Botticino marble in collaboration with Serafini, is intended to evoke the sense of mystery and wonder associated with this natural occurrence. The side table features intricate carvings that allow its spruce wood surface to interlock with the marble base without the need for adhesives, demonstrating a blend of aesthetic appeal and thoughtful construction. The design's functionality is highlighted by its ability to split light from an overhead spotlight through its wooden fins, projecting a sunbeam pattern onto the angled marble surface below. This interaction of light and material is central to the table's purpose, creating a dynamic visual experience for the user. Mitchell emphasizes that the design goes beyond mere aesthetics, aiming to tell a story and enhance user experience through its narrative qualities. The 'Sunbeam Side Table' is described as a totemic product, reflecting the designer's intent to capture and share moments of natural beauty within a functional object. The choice of Botticino marble for its fabrication underscores the product's luxurious and refined character, while the detailed craftsmanship by Serafini artisans ensures its high quality. The design process is deeply influenced by Mitchell's characteristic approach, which integrates poetry, wanderlust, and romance into his creations, whether they are products, spaces, or experiences. This side table is a testament to his ability to translate abstract natural phenomena into tangible, artful furniture. The piece serves not only as a functional item but also as a conversation starter, inviting contemplation on the interplay between nature, perception, and design. #FurnitureDesign #ConceptDesign #InnovationDesign #InteriorDesign #MarkMitchell #BotticinoMarble #Serafini #LightInteraction #EtherealMoments

Michael Trapp, a West Cornwall-based interior designer, landscape architect, and antiques dealer, has cultivated a career characterized by a distinctive aesthetic informed by his extensive global travels. His personal residence and shop, an 1830s Greek Revival house, serves as a testament to his unique design philosophy, blending centuries of elegant taste with a fresh, imaginative approach. Trapp, who grew up frequently moving due to his father's military career, developed a deep well of imagination that now fuels his design work. Twenty-five years prior, Trapp discovered the potential of the 1830s Greek Revival home, which belonged to a local doctor. Extensive renovations were undertaken, involving the removal of numerous doors and staircases, to transform the space into a livable and aesthetically coherent environment. The surrounding garden, initially a simple sloping lawn, has since been meticulously cultivated into an Italian villa-style landscape that flourishes from spring through fall. Inside his shop, Trapp's love for nature is evident year-round. He incorporates natural elements such as Spanish moss draped from the ceiling, butterflies and insects preserved in antique frames, and vases filled with colorful coral and unique animal bones. These natural objects are juxtaposed with ancient artifacts, including Greek and Turkish pottery, creating a rich tapestry of history and natural wonder. Trapp dedicates four months each year to international travel, exploring regions such as Southeast Asia, India, Turkey, North Africa, and Europe, with frequent visits to antique markets in Avignon, France. He also sources Colonial-era furniture from Indonesia, appreciating its blend of Eastern and Western influences. Trapp's acquisitions are driven by both specific project requirements and a personal passion for the objects themselves, which he stores in two dairy barns upon returning home. His design journey began after studying landscape architecture and design, leading him to collect items from flea markets across the country. The sunroom, kitchen, and sitting room at the rear of his West Cornwall house feature enormous arched windows from the renowned architectural firm McKim, Mead & White, originally from the Rhode Island State House. The kitchen also boasts decorative 16th-century Portuguese ceramic wall tiles depicting "The Last Supper," which Trapp acquired at a barn sale. Each item in his collection, he emphasizes, carries a unique story. Upstairs, guest rooms are adorned with an opulent touch. The living room ceiling is tented with golden 18th-century fabric, complemented by yellow silk walls bordered with 17th-century red Chinese fringe. Crimson velvet throw pillows accent Venetian sofas, and a late 19th-century Ushak carpet from Iran grounds the space. High shelves display Greek and English vases, while an oversized 17th-century German armoire, designed for portability, occupies a back wall. One bedroom features serene creamy white tones, French paintings in the Old Master style, an 18th-century Dutch chest of drawers, and a bed draped with mosquito netting and an antique gold fabric canopy. The bathroom includes a French Empire zinc tub, an 18th-century parquet floor, and windows adorned with deep red monks’ shawls from Bhutan. Trapp’s design philosophy allows for constant evolution, as he collects what he loves, lives with it, and then may sell it. His clientele spans hotels, urban apartments, and private residences across the United States and France. He values clients who respect his work and aims for their ultimate satisfaction, ensuring they achieve their desired outcomes without unnecessary expenditure. Trapp’s distinctive designs, both interior and exterior, are deeply rooted in his personal aesthetic and keen sensibilities. His shop and garden in West Cornwall serve as a destination for individuals seeking inspiration from his unique blend of romance, creativity, and baroque influences. His work demonstrates how a global perspective and an imaginative approach can transform spaces into timeless and extraordinary environments. #MichaelTrapp #InteriorDesign #LandscapeArchitecture #AntiquesDealer #WestCornwall #GlobalInfluence #BaroqueDesign #EclecticStyle #HistoricRenovation

Amanda Gunawan and Joel Wong, co-founders of OWIU Design, have transformed a 1973 Ray Kappe-designed modernist home in the hills of La Cañada Flintridge, California, into a serene dwelling influenced by Japanese aesthetics. The couple, originally from Singapore, were drawn to the unique combination of the modernist house and its two-acre forested lot, which contrasts with the traditional suburban homes in the area. They embarked on a yearlong, full-gut renovation while meticulously preserving key elements like the redwood ceilings and wall panels, which exude the home's original character. A significant architectural modification involved replacing exterior walls with a 14-foot-tall glass box enclosure that offers expansive views of a newly installed swimming pool, enhancing the connection between indoor and outdoor spaces. The interior design adopted a fluid approach, focusing on creating strategic viewpoints of nature rather than adhering to a rigid floor plan. Furniture selections are low and minimal to maintain unobstructed sightlines to the surrounding gardens and landscape. An example of this is the living room, which features Eames lounge and accent chairs and a Barcelona Day Bed, all chosen for their midcentury design and ability to complement the natural views. Japanese design philosophy deeply influenced the renovation, reflecting Gunawan and Wong's extensive travels to Japan. They admire the Japanese commitment to excellence and sought to integrate a restrained aesthetic, drawing inspiration from traditional Japanese ryokans (inns) to evoke a sense of groundedness and tranquility within their home. This influence is evident in the use of tatami mats; a sleek black tatami, custom-made by a traditional tatami artisan, covers the primary bedroom's bed platform, providing a modern interpretation while respecting its traditional purpose. The outdoor areas also showcase a strong Japanese sensibility. The gardens feature a meticulously designed small stream with flowing water and a koi pond, developed with the consultation of a Kyoto-based landscape designer. The couple covers the koi pond at night to protect the fish from local wildlife. The renovation included a new facade accented by a sakura tree, which blooms with cherry blossoms every spring, further enhancing the Japanese garden theme. Water elements are strategically placed throughout the property, from the main entrance's Japanese-inspired water fountain to the stream and fish pond, all contributing to a continuous visual flow of water from the house to the distant Pacific Ocean, as advised by Japanese gardeners. The original sunroom was converted into a glass-enclosed space, further enhancing the indoor-outdoor connection. Custom white oak built-ins, an island, and cabinetry, constructed by Inflexion Builds, define the kitchen space. Art pieces, such as a parchment painting in the living room by a Korean artisan and an ink on canvas painting by Japanese artist Tomoka Naka, add personal and cultural touches. The primary bathroom features a large marble soaking tub, reminiscent of a Japanese ofuro, while the guest bathroom is enveloped in kiln-dried Douglas fir. Even the previously oddly-shaped pool was rebuilt to be more functional and aesthetically integrated with the surrounding landscape, providing a peaceful retreat with access to a nearby forest. #ModernistArchitecture #JapaneseDesign #HomeRenovation #InteriorDesign #LandscapeDesign #RayKappe #OWIUDesign #CaliforniaHomes #Tatami

The field of interior design is currently experiencing a shift away from synthetic materials and overly manufactured aesthetics, moving towards more organic designs that feature natural materials. This trend is driven by an interest in sustainability, as well as a desire for products with greater depth and personality. While natural materials such as rattan, antique wood, and various stones are gaining popularity, marble stands out as a material with a long-standing presence in interiors, ranging from historic mansions to contemporary homes. However, a new development involves the increasing use of unique marbles in bold and colorful hues, offering a fresh alternative to the traditional neutral shades like Carrara and Calacatta. These classic neutral marbles are not going out of style, but the vibrant, statement marbles are establishing their own significant place in modern design. Historically, synthetic materials such as engineered quartz, solid surface, and laminate have been favored for their durability, particularly in kitchens. However, designers are observing a growing comfort among clients with natural stone. For instance, Joslyn Taylor of Swoon, The Studio, notes a significant decrease in client hesitation regarding natural stone maintenance over the past five years. This shift suggests that people are becoming more comfortable with natural stone's wear patterns and are embracing it in various applications, sometimes in smaller, more casual doses. Swoon, The Studio, for example, incorporates natural stone into tables, accessories, and even waste bins crafted from leftover marble. Nikki Chu, another designer, points out that marble applications are expanding beyond countertops to include entire backsplashes, shower surrounds, and door frames. While natural stone, including marble, is known to be more susceptible to wear, staining from spills, and etching from acidic substances, designers like Callie Windle view these characteristics as part of marble's inherent charm. She emphasizes that the patina and wear that develop over time contribute to its beauty, warmth, and enjoyment, suggesting that there is no true substitute for natural stone. Among the trending bold marbles, Nero Marquina and Calacatta Viola are particularly popular, both known for their moody, deep tones. Windle utilized honed Nero Marquina in her former home's primary bathroom, pairing it with another marble for a striking black-and-white aesthetic. She chose it for its durability compared to soapstone and for the masculine, worn feel imparted by the honed finish, which adds warmth and depth to an otherwise cold space. Chu centered her Dallas kitchen design around a Calacatta Viola slab, noting that its rich color palette and bold veining transformed the kitchen into a focal point of conversation. She appreciates the marble's bold yet warm appearance, especially in contrast with the room's wood and brass elements. The resurgence of colorful marbles is a broader trend, with Windle observing that deeper, darker, and bolder colors, once popular in the 80s and 90s, are making a comeback. These colorful stones are now more prominently displayed in stone yards, and designers are increasingly integrating them with wallpaper or cabinetry for a tone-on-tone effect. Examples include Windle's use of deep red Rosso Levanto marble in a powder bathroom and the frequent appearance of Empress Green marble. Taylor also expresses a fondness for green and black marbles, especially when honed to give them a modern look. Her firm's renovation of the French Room at the Adolphus Hotel involved refinishing the existing dark green marble floor, which, after honing, achieved a soft, organic, and completely transformed aesthetic, highlighting the modern appeal of this finish. #InteriorDesign #NaturalMaterials #MarbleTrends #HomeDecor #ColorfulMarble #ArchitecturalMaterials #DallasDesign #KitchenDesign #BathroomDesign