Talking Colour with American Design Duo The Novogratz |

The SANDOW Design Group, in partnership with 3form for the third consecutive year, introduces its DesignScene lounge at NeoCon 2024, located on the 11th floor of The Mart in Chicago. This year's lounge, titled "Colorblock," explores the concept of stepping inside color through an intricate display of shapes and contrasting shades. The design draws heavily from the art historical technique of color blocking, which involves juxtaposing colors from opposite ends of the spectrum, echoing modernist movements from the 20th century. Cindy Allen, editor-in-chief of Interior Design, explains that the Colorblock theme builds upon the previous year's "Colorplay" and uses graphic techniques to define different brand areas within the lounge, with warm reds and pinks for Interior Design and cool greens for Metropolis. The color palette itself is inspired by the work of Le Corbusier, particularly his storied house in France. Ryan Smith, chief creative officer at 3form, shares that both he and Allen were independently drawn to Le Corbusier’s aesthetic as inspiration. Smith notes that Le Corbusier's house features a muted palette, a characteristic intentionally carried into the DesignScene lounge. The colors chosen for the 2024 space are slightly subdued to ensure that all areas of the space feel activated, creating an inviting atmosphere rather than an overwhelming one. The design integrates bold graphics and unexpected installations on walls, floors, and ceilings. Smith explains that the graphic patterns throughout the lounge are informed by the existing architecture of the space, leveraging shadows and edges to create a dynamic interplay of lines and color blocking. This approach ensures that every shade feels integrated and purposeful within the environment. The lounge features materials from various partners to bring the color scheme to life. Flooring is provided by Shaw Contract, wallcoverings by Momentum Textiles and Wallcovering, and paint by Behr. This collaborative effort transforms the space into a three-dimensional colored canvas, offering visitors a unique sensory experience. A key element of the lounge is an expansive communal table, designed to facilitate connection and relaxation, offering a welcome reprieve from the busy NeoCon show floor. Additionally, HBF has contributed to the lounge by creating an activation space with its signature furnishings, offering comfortable seating for attendees with weary feet. Beyond the aesthetic experience, DesignScene serves as a hub for industry engagement and knowledge sharing. Attendees can observe Interior Design editors preparing the NeoCon ShowDaily newspaper and participate in ongoing industry roundtables with design leaders. The lounge also hosts rising stars selected for the "First NeoCon" program, a partnership with The Mart, supporting emerging talent in the design field. The Sustainability Lab by Metropolis is another integral part of DesignScene, showcasing sustainable products, providing curated readings and resources, and offering additional spaces for visitors to relax and recharge. The collaboration between SANDOW Design Group and its partners aims to create a deeply immersive and informative experience rooted in design innovation and community. #NeoCon2024 #ColorBlocking #InteriorDesign #3form #LeCorbusier #DesignScene #ArchitecturalInspiration #SustainableDesign #DesignInnovation

This article features an interview with Mary Graham and Nicole Salvesen, co-founders of the interior design firm Salvesen Graham, renowned for their classic-meets-contemporary aesthetic. The discussion centers around the launch of their debut book, ‘A New English Style: Timeless Interiors by Salvesen Graham,’ offering insights into their design philosophy, sources of inspiration, and fundamental style principles. The designers reflect on the book's creation process, noting that it prompted a deeper consideration of their client work, their evolution as a practice, and their aspirations for growth. They emphasize that English style is inherently dynamic, characterized by ongoing change and the layering of new elements onto existing structures. The process also allowed them to revisit earlier projects, confirming the enduring quality of their initial designs even after a decade. Addressing the balance between English style's rich legacy and contemporary relevance, Salvesen and Graham explain that they always begin by examining the building itself. This approach helps identify traditional elements to be preserved, restored, and celebrated, guiding the overall design direction. They stress that homes should be vibrant and lived-in, not static museums. To inject modernity, particularly in traditional settings, they prioritize personal belongings such as artwork, books, and object collections. They highlight the impact of combining a formal drawing room with a striking piece of contemporary art as a central feature. Regarding the influence of location and setting, the designers assert that the essence of English style is not geographically confined. It can be successfully applied globally, adapting its unique character to each new environment. They liken this adaptability to how each project differs based on individual client preferences. The core of their approach lies in the 'spirit of decorating,' which encompasses layering, incorporating antiques, and prioritizing comfort, rather than being dictated by a specific setting. Layering is a fundamental aspect of their style, and they advise confidence in its execution, suggesting that more layering often leads to better results. They advocate for a mix of patterns and plains, alongside a variety of textures, to achieve depth in a room. For instance, the light-absorbing quality of thick cotton velvet can effectively contrast with a light-reflecting chintz. They clarify that layering extends beyond fabrics to include all elements of a room: flooring, lighting, art, books, and the tones and finishes of paintwork. The aim is a considered, not necessarily fussy, aesthetic. The designers emphasize the critical role of antiques in grounding a room and imparting authenticity, advocating for pieces with clean lines and excellent proportions, whether a 1970s glass lamp or a Georgian center table paired with a modern pendant light. They advise a gradual approach to incorporating antiques, adding pieces over time until a personal balance is achieved. Their approach to color involves strategic splashes in unexpected places within traditional spaces, such as inside a larder cupboard or at the end of a corridor. They acknowledge a contemporary conservatism regarding color in homes, contrasting it with historical periods that embraced more vibrant palettes. Often, they derive color inspiration from a favorite patterned fabric, extracting various hues and applying them with differing intensities to establish a room's identity. The designers confess to occasionally bending conventional design rules in their own homes, particularly regarding pragmatic considerations like heating requirements, prioritizing aesthetics over strict guidelines. They also take a relaxed stance on rules concerning wall light height or furniture spacing, believing that comfort and intuition are paramount. Living with their own interiors has reinforced the importance of quality design and craftsmanship. They note that well-made, classic pieces provide a stable foundation around which styles can evolve, allowing accessories, artwork, and furniture coverings to change while the room's essential structure remains. This concept of 'getting the bones right' applies to architectural details, room layouts, and investment pieces. They draw a parallel to fashion, where a timeless core allows for subsequent embellishment. The concept of 'Future Heritage' means creating interiors that honor and draw inspiration from the past while integrating modern aesthetics, technologies, and lifestyles. Their designs aim to bridge historical elements with contemporary innovations, yielding interiors that are both timeless and forward-looking. Ultimately, they hope their book offers readers a versatile, approachable, and accessible guide, encouraging them to celebrate heritage without being constrained by tradition, and to confidently infuse their homes with personal expression. #InteriorDesign #SalvesenGraham #EnglishStyle #FutureHeritage #TimelessInteriors #DesignInspiration #HomeDecor #Layering #Antiques

The article introduces Robert Novogratz, a renowned American designer, known for his eclectic and personality-filled approach to interior design over three decades. As one half of The Novogratz, he emphasizes creating spaces that are fun and functional, rather than just aesthetically pleasing. His design philosophy is explored through an interview where he discusses his career trajectory, artistic influences, and renovation projects. Novogratz's journey into design began with an art background and an early passion for collecting, inherited from his antique-dealer mother. He highlights the importance of appreciating and understanding art, mentioning his preference for modern and contemporary artists, including young and Black artists like Glenn Ligon, Kehinde Wiley, and Danny Fox. He also notes his appreciation for affordable art from artists like Jimmy Lee Sudduth. This passion for art informs his selection of unique pieces that contribute to the layered and personalized feel of his interiors. His career pivot from finance to design was sparked by a desire for a more fulfilling life in New York. His first renovation project, a run-down townhouse in Chelsea, though challenging, solidified his love for transforming spaces. This early experience, constrained by a tight budget, ingrained in him the value of thoughtful design decisions and a willingness to embrace color, evident in his choice to paint the classic brownstone a pale yellow. He also reminisces about incorporating vintage elements like tiles and doorknobs, a practice he wishes to reintroduce. Among his most rewarding projects, Novogratz cites the Nolita townhouse, which allowed for expansive creativity, including the unconventional addition of a basketball court on the roof. The Waverly Place house in New York’s West Village, despite being a challenging three-year renovation during Covid, is highlighted as a space that successfully captured a desirable “vibe.” He defines this “vibe” as an energetic, comfortable space that caters to various social situations, drawing parallels to the atmosphere of establishments like Balthazar restaurant with its warm, yellow hues. Novogratz accepts the label of “design disruptor” because his distinctive aesthetic differentiates him from others. He describes his signature style as eclectic, blending vintage and modern elements, always aiming for happiness, comfort, and most importantly, fun. He expresses a dislike for overly sterile, all-white spaces, advocating for a more joyful approach. The article also touches upon his current living situation in a Union Square loft, which he views as a temporary, transitional space near what was Andy Warhol’s Factory. He describes it as a place he made cool by focusing on art and appreciating the city views from the terrace. His personal rituals, such as listening to jazz with hot water and lemon, offer insight into his lifestyle. He also shares a recent experience helping his musician son decorate his New York apartment, emphasizing that creating a homely space doesn't always require significant expense. Novogratz's ongoing collecting habits, fueled by platforms like eBay and 1stDibs, demonstrate his continuous search for unique pieces, including vintage prints. He is currently working on designing a house in Brooklyn that will serve as a family-friendly private club with a “Soho House vibe,” underscoring his commitment to creating engaging and enjoyable environments. Ultimately, Robert Novogratz's design philosophy centers on optimism, creativity, and curiosity, illustrating that good design is about personality, soul, and a sense of fun. #InteriorDesign #RobertNovogratz #DesignPhilosophy #EclecticStyle #HomeRenovation #ArtCollection #NewYorkDesign #VintageModernMix #LayeredLives

The fashion industry has witnessed a significant shift towards vibrant colours in the post-pandemic era, moving away from more muted tones. This trend, often referred to as “dopamine dressing,” signifies a desire for expression and freedom after periods of constraint. Luxury retailers like Net-a-Porter have observed substantial increases in sales of colourful items, with green, orange, and pink leading the demand. This resurgence in colour is reminiscent of early 2000s fashion, albeit with modern elevations in branding and social media influence. Despite the widespread embrace of bold colours, effectively incorporating them into one’s wardrobe requires understanding personal compatibility. This insight has led to a renewed interest in colour consultations, which help individuals identify colours that best complement their complexion and personal style. Isabel Gleeson, a Dublin-based virtual stylist, highlights that many people shop based on trends seen on social media, such as on influencers like Pippa O’Connor, without considering how these colours interact with their own skin tone. Clara Halpin, deputy director of personal and private shopping at Kildare Village, reinforces this by explaining that wearing the wrong colour can make a person appear “drawn or washed out.” During a virtual colour consultation, personal attributes like skin tone and hair colour are assessed to determine an individual’s “season” palette. For instance, the author, identified as a pale and fair-haired “summer,” discovered that ultra-bright and stark colours should be avoided. Instead, delicate and feminine hues like periwinkle blues, pale yellows, and lavenders are recommended. The guiding principle is that the colour closest to the face accentuates similar pigments in the skin. Yellow tones can enhance a yellow pigment, blues can brighten blue eyes, and pinks can boost a pink complexion. Beyond colour, seasonal recommendations also extend to fabric choices. Soft textures such as wool, cotton knits, and crepes are suggested for summer palettes. Yellow and iridescent materials like sequins are identified as beneficial for adding brightness to a pale complexion. While certain colours like bright red are advised against, steelier shades of blue are encouraged. Interestingly, purple, particularly a medium lavender shade, is noted as a universally flattering colour for both warm and cool palettes, aligning with trends like Pantone’s “Very Peri.” Irish designer Ros Duke emphasizes a natural approach to colour selection, drawing inspiration from earthy tones and local flora and fauna. She advocates for non-artificial shades such as indigos, denim, lavender, and rust, noting the lifting effect of colours like turmeric yellow on Irish skin tones. Duke also observes that soft pinks consistently perform well with her customers. The purpose of a colour consultation is not to dictate a new wardrobe entirely but to empower individuals with knowledge about their most flattering colours, enabling more intentional and sustainable shopping decisions. This approach can reduce consumption by encouraging the purchase of fewer, more suitable items, such as a versatile winter coat in a personally flattering shade. The article concludes by emphasizing that wearing the correct colours can transmit infectious and uplifting energy. While some may prefer the timeless elegance of black, understanding one’s personal colour palette encourages a focus on what genuinely flatters an individual, moving beyond transient social media trends. Services for colour consultations, like those offered by Isabel Gleeson and at Kildare Village, are reasonably priced, making this personalized fashion guidance accessible to a broader audience. #FashionConsultation #ColourAnalysis #DopamineDressing #PersonalStyle #SustainableFashion #BeautyTips #FashionTrends #StyleGuidance

Livingetc's 'Design, Directed' dinner series serves as a unique platform for fostering connections and exchanging ideas within the design community. These salon-style supper clubs are intentionally structured to be informal, bringing together a diverse group of creatives, including interior designers, muralists, textile makers, and brand leads. The objective is to facilitate genuine conversations about the evolving landscape of decor, trends, and the future of design, free from the conventional constraints of industry events like press conferences or formal pitches. This intimate setting encourages the formation of new relationships and collaborations among passionate professionals, all while enjoying curated culinary experiences. The most recent installment of the 'Design, Directed' series, organized in partnership with Farrow & Ball, took place at Gold in Notting Hill. The event's atmosphere was meticulously crafted to enhance the experience, featuring a long dining table adorned with soft, desert-inspired hues and striking sculptural floral arrangements by Calluna. Each place setting was thoughtfully completed with bespoke matchboxes from Compton Marbling, adding a touch of charm and bespoke craftsmanship to the evening. These details underscore Livingetc's commitment to creating an immersive and aesthetically pleasing environment for its guests. The success and impact of the 'Design, Directed' events stem from their carefully curated guest lists, which comprise influential designers, editors, and creatives whose work significantly shapes contemporary taste and design trends. The attendees at this particular dinner included prominent figures such as Pip Rich, Tiffany Duggan, Margot Tsim, Suzy Hoodless, Joa Studholme, Lonika Chande, Charlotte Cosby, Natasha Lyon, Dhilnawaz Khan, Jason Orme, Georgia Farey, Pandora Taylor, Ellen Merchant, Kate Guiness, James Waterworth, Sarah Spiteri, Skye McAlpine, Andrew Griffiths, Queenie Ingrams, and Jo Le Gleud. Sarah Spiteri, Global Brand Director and Group Editor-in-Chief of Livingetc, highlights that the series originated from the brand's mission to 'bring life to design,' emphasizing the creation of genuine friendships and a strong community rather than just organizing events. While not a formal product launch, the evening subtly celebrated Farrow & Ball's latest color collection. This new palette is characterized by understated yet rich and historically-inspired shades, derived from everyday objects that possess a familiar beauty. Pip Rich, Livingetc's Executive Editor, noted the natural synergy between the event and Farrow & Ball, building on existing conversations about new hues among designers. The elegant tablescape naturally led to discussions about specific colors, such as Dibber, an earthy green reminiscent of aged garden tools, and Duster, a golden hue perfected over time. Marmelo, a deep, buttery orange, garnered particular admiration, with Joa Studholme likening its familiarity to morning toast. The enduring nature of the conversations and the reluctance of guests to depart served as a testament to the event's success. Even after the meal concluded, discussions continued, ideas were exchanged, and potential collaborations quietly began to form. This outcome aligns perfectly with the core philosophy of 'Design, Directed': to be a dynamic, salon-style gathering where leading figures in design can engage in meaningful dialogue, challenge perspectives, and enjoy themselves in an environment that fosters creativity and connection. The series aims to transcend the typical industry gathering, offering a more profound and enjoyable experience for all participants. #DesignDirected #InteriorDesign #FarrowAndBall #DesignCommunity #CreativeNetworking #ColorTrends #LuxuryDining #DesignInnovation #NottingHillEvent

Pantone's selection of 'Cloud Dancer' white as the Colour of the Year 2026 has sparked considerable debate within the design community, following previous choices like Mocha Mousse and Peach Fuzz. Described by Pantone as 'a lofty white whose aerated presence acts as a whisper of calm and peace in a noisy world,' this off-white shade has elicited strong reactions from designers and curators, who offer varied perspectives on its significance. Design curator Priya Khanchandani, formerly of the Design Museum, critically analyzed the choice, particularly on social media. She argues that 'Cloud Dancer' is an inappropriate selection given current global socio-political contexts. Drawing on David Batchelor’s 'Chromaphobia,' Khanchandani posits that Western society exhibits an inherent resistance to color, often dismissing it as childish, feminine, or kitsch. She concludes that the rejection of color is not merely an aesthetic preference but an ideological stance, interpreting the choice of white as a resistance to plurality. Khanchandani suggests that at a time when white nationalism is rising and efforts toward broader representation are being challenged, selecting white feels insensitive and misses an opportunity to celebrate diverse colors and identities. Conversely, textile and color designer Margrethe Odgaard finds the choice captivating, viewing 'Cloud Dancer' as an invitation for awareness rather than a conservative decision. She emphasizes that it is not a stark, industrial white but a hue that prompts deeper consideration. Odgaard describes it as 'a scaffolding for the colour spectrum,' suggesting it functions as a neutral backdrop that allows other colors to shine. Its warm, creamy tone, she explains, evokes the soft glow of lime whites, ensuring that shadows remain vibrant in spatial contexts. For Odgaard, the selection encourages a shift away from pure, calibrated whites towards more natural, earthy hues that engage the senses over intellectual thought. She also interprets 'Cloud Dancer' as a subtle symbol of hope amid global conflicts. Julien Sebban of Uchronia, known for his multi-layered palettes in interior and product design, expressed surprise at Pantone's choice. Having previously collaborated with Pantone on a celadon green suite, Sebban perceives white as a neutral starting point rather than a color in itself—a background rather than a bold statement. He suggests that choosing black or white as Colour of the Year might reflect a deeper global mindset leaning towards neutrality, uniformity, and a reluctance to take risks. He notes the increasing prevalence of an international beige aesthetic, which he finds somewhat melancholic and underwhelming, especially when creativity, diversity, and boldness are critically needed. Giulio Ridolfo, a designer renowned for his textile and chromatic palettes, also offers an insightful perspective on white. He highlights its diverse symbolic uses across cultures, from signifying widowhood in India to representing peace and light. Ridolfo acknowledges white's omnipresence, stating, 'White has always accompanied me throughout my life, there are moments when you can't be without white, like you can't live without black.' He prefers to call it 'biancore' (whiteness) and, as a color designer, often draws inspiration from nature rather than adhering strictly to Pantone's predefined colors. He particularly favors the white of Greek islands and natural pigments found in KT paint catalogues. These varied interpretations underscore the complex and often contradictory meanings embedded in Pantone's 2026 Colour of the Year, Cloud Dancer. #PantoneColorOfTheYear #CloudDancer #ColorTheory #DesignCommunity #InteriorDesign #TextileDesign #CulturalSymbolism #DesignCritique #AestheticDebate

The article explores the multifaceted world of color, highlighting its subjective and collective impact on individuals and trends in fashion and home design. Color choices are influenced by personal emotional reactions and memories, while broader trends can be generational or inspired by specific artistic movements. The article notes the cyclical nature of color trends, from the minimalist 1990s to the resurgence of vibrant hues, with natural colors like green gaining popularity due to sustainability concerns. The influence of pop culture, such as movies like "The Grand Budapest Hotel," and the red-carpet fashion of A-listers, is suggested as a factor in the renewed appreciation for flamboyant colors. Traditional color systems, such as Pantone's "Colour of the Year," Sweden's NCS, and Germany's RAL, are discussed as standardized methods for color reproduction and forecasting. Pantone's annual selection, like "Classic Blue" for 2020, is presented as a result of trend-forecasting research, aiming to capture the zeitgeist. However, many contemporary designers are moving away from these rigid systems, advocating for a more personal and experimental approach to color. Dutch designer Hella Jongerius is highlighted for her efforts to create a "new vocabulary" of color, challenging the standardization that she believes impoverishes the everyday color palette. Her work for Vitra and exhibitions like "Breathing Colour" showcase mutable colors and innovative formulations, such as 16 shades of black created without carbon. The article delves into the origins and commercial aspects of color forecasting, noting that firms like Carlin began creating forecasts after World War Two to serve retailers. While these systems offer practical value in ensuring color consistency across global manufacturing, they are also viewed as marketing tools. Justine Fox and Carolina Calzada Oliveira of Calzada Fox emphasize that their color development extends beyond aesthetics to functionality, encompassing brand awareness and sustainability. They observe a shift towards longer-term color forecasting in fashion and product design, similar to the automotive industry, in response to growing consumer demand for sustainability. However, challenges exist in implementing sustainable color practices on a mass scale, as textile designer Lindsay Hanson explains regarding bacterial dyes. While environmentally friendly, these dyes face limitations in color range, affordability, and durability compared to synthetic alternatives. The article emphasizes that colors are often best appreciated in combination, challenging the isolated focus of "Colour of the Year" concepts. Examples include Calzada Fox's paint range for Craig & Rose, which explored color interaction through immersive installations. Italian colorist Giulio Ridolfo's work for Kvadrat, Vitra, and Moroso exemplifies this layering approach, drawing inspiration from natural landscapes, art, and cinema. His designs for woven textiles like Remix, which feature multiple yarn colors, create rich, subtly changing hues that appear monochrome from a distance but reveal intricate contrasts up close. The book "Materialising Colour: Journeys with Giulio Ridolfo" by Jane Withers further explores his process, connecting it to historical color theory and emphasizing the "in-between" colors created by material interaction. UK-based textile design duo Wallace Sewell also embraces the unpredictable color combinations inherent in weaving, influenced by Bauhaus artist Johannes Itten. Their work for London Transport trains, featuring complex moquette designs, showcases how multiple colors can interact to create unique visual effects. They express skepticism about rigid color forecasting, advocating for designers' creative autonomy. The article concludes by looking to future innovations, such as Lindsay Hanson's Digitised Material project, which uses digital technology and structural color to allow wearers to change garment colors via a smartphone app. This approach offers a potentially sustainable model for reducing new garment production. Woven textile artist Ptolemy Mann shares a similar sentiment, embracing sophisticated secondary colors and asserting that "there is no such thing as a bad color combination," highlighting the importance of context in color perception. #ColorTrends #DesignInnovation #TextileDesign #ColorForecasting #SustainableDesign #HomeDecor #FashionTrends #MaterialScience #ArtisticExpression

Margrethe Odgaard, a Copenhagen-based designer, has cultivated a rigorous and innovative approach to color and textile design since launching her independent studio in 2012. Her body of work includes textile designs for prominent companies such as Hay and Georg Jensen Damask, as well as collaborations with other Danish creatives, including furniture designers and chef-brewers. This extensive output is underpinned by a meticulous methodology, particularly her unique color index. Odgaard developed her own 280-color palette as an alternative to existing mathematically-derived systems like Pantone, RAL, and NCS. She found these traditional systems to lack complexity and aimed to create hues that possess an immediate sensory appeal beyond just sight. Her criterion for a successful color is its 'edibility' – if one is willing to put the color in their mouth, it effectively relates to the body. This approach led to a rich spectrum of colors, from a color-shifting cocoa to an ultra-saturated neon purple, which she meticulously painted onto popsicle sticks to visualize and categorize. Her design philosophy is deeply influenced by her upbringing in pastoral western Denmark, where the natural environment fostered an attraction to opposition and a drive to make a significant impact through her work. Odgaard, an alumna of the Rhode Island School of Design and the Royal Danish Academy of Fine Arts, describes her constant striving to not merely 'make noise' but to 'make a difference' as a designer. Beyond her color index, Odgaard's diverse portfolio showcases her inventive spirit. She created 'Navajo Drawings,' which are wooden 3-D stick drawings inspired by Native American art, envisioned as three-dimensional wall decorations. Her 'Fold Unfold' tablecloth design features patterns that appear to flow out of its creases, demonstrating an innovative use of textile form. Additionally, her design for the 'Yolk' bowl for Kähler exemplifies her ability to translate her color and form sensibilities into various product categories. Odgaard's studio in Copenhagen serves as the hub for her multifaceted projects. Her consistent output and distinct approach highlight a designer who not only understands the technical aspects of color and material but also imbues her creations with a deeper, sensory connection. Her work stands as a testament to the power of thoughtful design that engages both the intellect and the senses. #MargretheOdgaard #TextileDesign #ColorTheory #DanishDesign #ProductDesign #InteriorDesign #DesignInnovation #CopenhagenStudio

This article features an interview with Sally Evans and Sonia Simpfendorfer, directors at Nexus Designs, discussing their studio's approach to colour in Australian interior design. It delves into the evolution of 'Australian colour' and offers advice on incorporating it into design projects. The discussion highlights that for a generation of designers in Australia, the seminal work on colour has been Nexus Designs founders Janne Faulkner and Harley Anstee’s book, _Using Australian Colour_. The unique Australian landscape, characterized by the rich terracotta of the Red Centre, the silvery green-grey of eucalyptus trees, and the deep blues of its beaches, has provided a distinctive and inspiring colour palette that continues to influence Nexus Designs. Sally Evans explains that the Australian light and landscape are fundamental to their design approach. Every product, range, or palette they recommend is intended for use within an Australian context, whether urban, rural, or interior. The firm prioritizes how colours will perform in their intended environment, considering the interplay between light, surface finish, and viewing distance. Their objective is to create colour ranges that complement Australian environments without merely imitating them. Sonia Simpfendorfer emphasizes the profound impact of Australian light on colour perception in interiors. Nexus Designs consistently seeks methods to optimize natural light, aiming to create spaces that feel intrinsically connected to their location, often achieved through open-plan living, natural materials, and seamless indoor/outdoor transitions. The concept of 'Australian colour' has undergone significant evolution. When Janne Faulkner founded Nexus Designs in 1967, the idea of distinctly Australian colour was rarely acknowledged, except among forward-thinking architects. Faulkner established the business during a period of architectural revolution, shifting from designs that ignored the environment to those that embraced light, openness, and connection to the outdoors. The publication of _Using Australian Colour_ by Nexus Designs was groundbreaking, captivating the public imagination with its fresh and exciting concept of uniquely Australian palettes derived from the landscape. Today, many designers and businesses champion Australian colour, which has moved beyond simple interpretations of vibrant, sunburnt hues to encompass a more nuanced palette of subtle, often 'dirty' tones that harmonize effectively with Australia's intense light. Looking forward, Evans anticipates a growing appreciation for colours that reflect Australia's diverse landscapes. The increasing focus on sustainability and locally sourced materials is expected to influence future colour trends across all design disciplines, leading to a shift towards truly Australian palettes rooted in context and integrating Indigenous colour knowledge. For incorporating Australian colours, Evans advises observing the immediate environment and context, considering a colour’s proportion, and how it interacts with other materials and lighting. She notes that colour is a powerful tool for creating visual narratives in environments. When selecting colours for a house, she suggests starting with the largest visible forms or shapes, understanding that materiality also plays a crucial role, and then choosing complementary items and colours that will either highlight or contrast with those larger areas. Simpfendorfer adds that colour inspiration can come directly from nature or simply from finding colours that perform well in Australia’s unique light and context. She recommends understanding how light functions in a space throughout the day and thoroughly testing colours using samples in their intended orientation (e.g., flooring samples on the floor, wall samples held vertically). She also stresses the importance of not overlooking neutrals or whites, recognizing the wide range of shades available and the significance of understanding their undertones. #AustralianColour #InteriorDesign #ColourPalette #NexusDesigns #SallyEvans #SoniaSimpfendorfer #ArchitecturalColour #LightAndLandscape #DesignInspiration

The article highlights the recent launch of Farrow & Ball's new paint color collection, a significant event in the interior design calendar given the brand's infrequent releases. These new shades are presented as reflecting the current mood of 2023, which favors transforming homes into spaces that are both restful and imbued with character. Joa Studholme, Color Curator for Farrow & Ball, emphasizes that the timing of this launch is opportune, as people are increasingly ready to express their personal style within their homes. The new palette encompasses a range of hues, from neutral taupes and powdery pinks to rich smoky greys and fresh greens. Several prominent interior designers offer their perspectives on this new collection. Eva Sonaike, known for her bold use of color, commends the compatibility and versatility of the new Farrow & Ball shades, noting their characteristic powdery softness. Her personal favorite from the collection is Eddy, which she envisions as an elegant neutral capable of complementing brighter colors. However, she expresses caution regarding Hopper Head, a darker grey, suggesting its use for proportional work, feature walls, or shelving to add depth, due to the inherent challenges of decorating with grey tones. Amy Youngblood, an advocate for calming neutral color schemes, believes the new palette aligns perfectly with the growing popularity of the organic modern style. She highlights how these warmer-toned cool colors harmoniously blend with natural woods and stones, materials increasingly prevalent in contemporary interiors. Youngblood sees the collection as striking a balance between playfulness and calm, recommending the more neutral shades for overall room painting and the vibrant ones for accent walls. Pip Rich, Editor of Livingetc, reflects on Farrow & Ball's history of releasing trend-setting colors. He predicts that certain shades from this new collection will become defining elements in home decoration for years to come. Specifically, he identifies Templeton Pink, a subtler version of Sulking Room Pink, and Kittiwake, a soft blue-grey, along with the rich Wine Dark, as strong contenders for widespread popularity, anticipating their immediate adoption in his own home and in featured designs. Anastasia Casey of Identite Collective, who specializes in naturally calming designs, observes a shift away from bright, minimalist spaces towards a cozier aesthetic with European influences. She suggests using Selvedge or Beverly for painted kitchen cabinets to introduce color while maintaining a fresh and timeless appeal. Casey also notes that while white walls remain popular, subtle contrasts on millwork and trim are gaining traction, recommending Stirabout as an ideal warm neutral for this purpose. Bethany Adams, a self-professed Farrow & Ball enthusiast, anticipates a strong demand for these nurturing tones, believing they resonate with people's desire for calm, creativity, and comfort in their homes. She points to Tailor Tack and Templeton Pink as evidence of the enduring appeal of blush hues, while also finding inspiration in the greens and blues like Kittiwake and Eddy. Cristina Lehman of C.Lehman Home appreciates the mature and muted interpretation of classic colors within the palette. She favors the neutral colors such as Stirabout, Tailor Tack, and Templeton Pink, as well as the cool and calming shades like Kittiwake, Eddy, Whirlybird, and Selvedge, particularly for offices and bedrooms, including children's spaces. For creating moody atmospheres, Lehman recommends Hopper Head and Wine Dark, noting Hopper Head's position between existing popular dark shades like Railing and Down Pipe, making it a versatile choice for entryways, studies, or small powder rooms. #FarrowAndBall #PaintColors #InteriorDesignTrends #HomeDecor #ColorPalettes #DesignerInsights #NeutralColors #ModernInteriors #2023Trends

This article features an interview with Natalie Greenside and Melissa Brown, co-founders and principals of MN Studio, an interior design firm. The interview delves into their journey of establishing their own business, their work and career, and their recommendations for activities and dining in Santa Barbara. Both Greenside and Brown previously worked at an Architecture and Interior Design firm in Santa Barbara, where they discovered their compatibility and shared vision for operating a design studio. Their decision to start MN Studio stemmed from a desire to move beyond working for others, a realization that grew stronger over the years. They formalized their business plan by taking a class through Women's Economic Ventures (WEV), which provided them with the foundational knowledge for entrepreneurship. MN Studio operates as a full-service Interior Design firm, leveraging the extensive backgrounds of both founders in architectural firms. Their expertise is complemented by a rich understanding of materials and a vast network of industry connections. The firm emphasizes a highly collaborative approach and strong client advocacy. The co-founders acknowledge that their success is a result of hard work and significant support from their families, clients, friends, and colleagues, as well as their mutual partnership. A notable challenge during their first year of business was the arrival of Melissa's baby, which coincided with an influx of new projects. This period proved demanding but ultimately strengthened their resolve and demonstrated their ability to navigate complex situations, combining the demands of new motherhood with running a growing business. Overcoming initial difficulties in hiring, MN Studio now prides itself on a team of experienced interior designers. They prioritize creating an office culture that is collaborative, flexible, and creative, valuing employee input and respecting their personal lives outside of work. The article highlights some of MN Studio's current and upcoming projects, which include custom residential designs in Santa Barbara, Montecito, and Malibu, each featuring unique architectural styles. Their hospitality portfolio encompasses a boutique hotel in San Luis Obispo and several bars and restaurants on the South Coast. Additionally, they are excited about recent workplace projects, one of which uniquely incorporates a live tree within an open office environment. Greenside and Brown also share their favorite local spots in Santa Barbara. For breakfast, they recommend Lilac Patisserie for quiche and cappuccino, followed by a visit to the Santa Barbara Art Museum. An afternoon could be spent wine tasting in the Funk Zone, culminating in dinner at Flor de Maiz for duck confit taquitos. A second day might involve hiking local trails for scenic views, followed by brunch at Field and Fort in Summerland and shopping at The Well, Porch, and Botanik. An evening suggestion includes dinner at Ca Dario, an Aperol Spritz at Good Lion, and a concert at the Santa Barbara Bowl. They specifically highlight Lotus Land, an estate known for its avant-garde landscaping, as an unmissable attraction. The co-founders express gratitude for the extensive support they received, acknowledging their families for financial investment, encouragement, and guidance in business operations. The skills acquired from WEV were crucial in building a solid business foundation. They also mention the overwhelming support from clients, consultants, friends, and colleagues upon announcing the launch of their business. The article concludes by inviting readers to visit MN Studio's website and Instagram for more information, and attributes image credits to Blake Bronstad, while also providing a link for community nominations for the Shoutout series. #InteriorDesign #Entrepreneurship #MNStudio #NatalieGreenside #MelissaBrown #SantaBarbara #BusinessJourney #DesignFirm #WorkLifeBalance

The interior design landscape is currently undergoing a significant shift from the previously dominant minimalist aesthetic of bright white walls, beige accents, and sparse decor. A new trend, dubbed "Dark Glamour" by Benjamin Moore, is emerging, characterized by deep, moody hues, rich jewel tones, dusky neutrals, and metallic accents, often with a gothic undertone. This shift emphasizes creating spaces with more color and emotional depth, moving away from a strictly neutral palette. Local interior designers are embracing this change, offering insights into successfully integrating these richer palettes into home environments. Tammie Ladd, owner of Tammie Ladd Design, highlights the importance of incorporating living elements like plants to prevent dark spaces from feeling too heavy. She also stresses the significance of contrast, drawing parallels to black-and-white photography, where a balance between light and dark elements—such as a dark floor with white walls or dark cabinetry with lighter hardware—creates visual interest and energy. Ladd illustrates this by describing a home study she designed with midnight blue walls contrasted by an untouched warm-toned wood ceiling, noting the complementary energy between blue and orange tones. Kasey Dobbins of Foxwood Design Co. shares a similar perspective, suggesting that for those hesitant to paint entire walls dark, painting the ceiling can be an effective alternative. She advises against an all-black-and-white scheme, preferring rooms within a mid-tone range for a more inviting feel. Dobbins encourages homeowners to select colors they are inherently drawn to, suggesting that personal comfort and preference should guide color choices, allowing homes to reflect individual personalities. Lighting plays a crucial role in these richly colored spaces. Ladd acknowledges the contribution of lighting specialists, emphasizing that strategic lighting can transform a dark room. Dobbins advocates for a layered lighting approach, combining various sources such as can lights, ambient sconces, and table lamps to create depth and warmth. She also provides practical advice for naturally low-light areas like basements, recommending medium-tone colors over very dark or stark white options, as white can make such spaces feel institutional. Beyond color and light, texture is another essential element for enhancing moody interiors. Ladd favors velvet for its calming properties and visual interest, while Dobbins is drawn to nubby bouclé fabric. Other textural elements like woven shades, sisal rugs, and waffle weave blankets can also enrich dark spaces. The article notes that even sheepskin throws, when used judiciously, can contribute to this textural complexity. Grasscloth wall coverings, reinvented with contemporary colors, are also recommended for adding a sophisticated textural layer. For luminous touches, natural stone, mirrored materials, and metals are suggested, particularly to complement candlelight. This trend towards rich colors and textures is seen as a corrective response to the previous monochromatic design extreme, aiming to reintroduce warmth and energy into living spaces, offering numerous options for homeowners to create refreshingly moody and personalized interiors. #InteriorDesign #DarkGlamour #ColorTrends #HomeDecor #TexturalElements #LightingDesign #MoodPalette #DesignTips #SpokaneDesigners

This article celebrates the ninth annual "Design Masters" feature by New Orleans Homes & Lifestyles, highlighting a dozen creative professionals across nine categories in the New Orleans design scene. These masters are recognized for their contributions to various aspects of home and landscape design, showcasing their unique backgrounds, inspirations, and the ways New Orleans influences their work. The Masters of Architecture, Kim Payne Allen and Ben Allen of Studio BKA Architects, both hold degrees from LSU and UT-Austin, respectively. They bring diverse experiences, from large real estate developments in NYC to urban historic renovations, to their practice in New Orleans. They find the city's rich urban framework stimulating for design but acknowledge the complexity of converging voices and ideas. They are inspired by Francis Kéré's work for its simplicity and social message. Amanda Talley, the Master of Textiles and proprietor of Studio Amanda Talley, earned her BA in studio arts and an MFA from Savannah College of Art and Design. She transitioned from working as an assistant at Gerrie Bremermann Designs to establishing her own studio, specializing as an abstract painter. New Orleans' creative culture and everyday experiences provide abundant inspiration, while the weather presents the biggest challenge. Her inspiration comes from Lee Krasner's ideas, particularly the concept of adding beauty to abstract expressionism. Alex Geriner, Master of Furniture Design and founder of Doorman Designs, initially built his own furniture after realizing his dorm room pieces didn't suit his New Orleans apartment. This led him to create a business focused on handcrafted, original furniture using local materials and artisans. The city's colorful vibe inspires unique designs that blend fresh aesthetics with an aged feel, though the humid climate poses a challenge for furniture construction. BDDW, a handmade furniture company, is a significant inspiration for him. Joe Evans and Barney Lighter, Masters of Landscaping from Evans + Lighter Landscape Architecture, established their firm in 2014 with a focus on elegant, sustainable, and regenerative environments that respect historical context. They specialize in integrated stormwater management and ecological systems design. New Orleans offers cultural and ecological richness, but also critical challenges like stormwater flooding and coastal erosion, which add urgency to their work. They draw inspiration from the communities, non-profits, and professionals they collaborate with. Katie Logan Leblanc and Jensen Killen, Masters of Interior Design from Logan Killen Interiors, are long-time friends who met in Baton Rouge and studied Interior Design at LSU. After a decade in architecture and production design, they founded their firm in 2012, later opening Sunday Shop. New Orleans serves as a constant source of inspiration due to its architecture and eccentric residents, allowing for creative freedom. However, specific architectural features like shotgun layouts and high ceilings present unique design considerations. They are inspired by designers such as Ilse Crawford, Studio Ashby, Nickey Kehoe, and Kelly Wearstler for their diverse approaches to design. Prisca Weems, Master of Green Design at FutureProof, has a background bridging architecture and science, exploring the interplay between built and natural environments. Having made New Orleans her home, she emphasizes the city's role as a leader in climate adaptation. The challenges presented by New Orleans' environment have expanded her work from green building to urban water infrastructure and international coastal community design. Her inspiration comes from individuals who envision and act on future possibilities, including local figures like Robert Tannen, Oliver Houck, David Waggonner, Robert Miller, and John Barry. Maria Barcelona, Master of Kitchen Design from Maria Bar, co-founded her firm in 2000 with Paul Dodson. Their collaboration combines her artistic vision with his detailed technical approach. New Orleans' rich architectural history is a constant inspiration, though they find the scarcity of local design resources challenging. They are currently inspired by Aviva Stanoff's ability to transform natural materials into luxurious textiles and home accents. Whitney Jones, Master of Home Accents and founder of Whitney J Décor, initially pursued physical therapy before realizing her passion for a creative field, leading her to interior design. She runs her firm as the principal designer, with an assistant managing projects and sales for her online shop. She finds unique homes and architecture in New Orleans inspiring for her design projects, but desires a wider variety of local showrooms. Kelly Wearstler is her greatest inspiration for her glamorous, boundary-pushing design style. Renee Lejeune Laborde, Master of Drapery, is a New Orleans native who studied Interior Design at LSU. She self-taught drapery making, which evolved into her sole proprietorship. New Orleanians' pride in their homes and the city's architecture with high ceilings and tall windows create a constant demand for custom draperies, offering a steady flow of work. Her inspiration comes from Ann Dupuy, who was known for her neutral palettes, mixing modern and antique elements, and beautiful curtains in her designs. #DesignMasters #NewOrleansDesign #Architecture #InteriorDesign #LandscapeArchitecture #FurnitureDesign #TextileArt #GreenDesign #HomeAccents #Drapery

Rachel Lacy, the founder of drikolor, a New Zealand-based company, has introduced a new approach to paint color technology. Drikolor's core strategy involves separating the color from the paint, using precise pigments that are stirred into a base paint. This innovative method aims to overcome the limitations typically associated with traditional paint purchasing and delivers meticulously designed colors to enhance modern interiors. Lacy developed a specific line of drikolor paint for Dwell, offering a palette that allows for consistent aesthetic appeal across different rooms in a modern home. These colors are formulated using pigments sourced globally, which are then mixed into a base paint to achieve vibrant and consistent hues. The article features an interview with Rachel Lacy, who shares insights into her expertise in color, the unique aspects of drikolor, and the overall customer experience her company provides. Rachel Lacy's passion for color was fostered during her childhood, influenced by her architect father and mother who owned a paint company. She recalls being taught about the built environment and the significance of color from a young age, referencing influential figures like Barragán and Le Corbusier's Color Keyboards. When asked about her favorite natural color, she expresses a fondness for green in all its variations, also noting that nature provides excellent guidance for color combinations. Lacy founded drikolor with the vision of establishing a color company, rather than a conventional paint company, viewing paint merely as a medium for color. Her goal was to allow consumers to purchase color where they are most inspired by it, such as art galleries or homeware stores, which traditionally do not stock paint. To realize this vision, drikolor partnered with Callaghan Innovation, a leading New Zealand research and development institute, to create a proprietary "stir-in" technology. This innovation not only enables the separation of color from paint but also expands the range of accessible pigments beyond those available to traditional paint companies. Drikolor's approach to color development is artisanal and meticulous. Lacy and her team of color specialists focus on pigments used by artists, building colors pigment by pigment without prioritizing cost-efficiency. Their laboratory houses over 100 pigments, allowing for extensive experimentation to achieve optimal colors. Drikolor's colors are multi-pigmented and are complementarily tinted. For instance, the Umber & Ultramarine trio in the Dwell palette combines umber from Cyprus with ultramarine blue from France, resulting in a soft, unique duck egg blue that cannot be replicated using standard commercial tinters. The selection of pigments is based on historical significance, identified through research, personal experience, and discussions with designers and artists worldwide. This often involves seeking non-toxic alternatives for cherished pigments or tracking down pigments that have gone out of mass production. Consumers are encouraged to choose drikolor for its superior color quality, recognizing that paint can profoundly transform a space. Lacy’s mission for drikolor is to reintroduce a richer, more evocative language of color into architectural discourse, drawing inspiration from Luis Barragán's sentiment about the disappearing words like beauty, magic, and serenity from architectural publications. #DrikolorPaint #RachelLacy #ColorTechnology #ModernInteriors #PigmentSourcing #PaintInnovation #InteriorDesign #NewZealandDesign

The article explores the pervasive trend of 'beigification' across various aspects of modern life, including fashion, home decor, and even baby products. The author reflects on this phenomenon, drawing parallels to personal experiences from adolescence to impending parenthood. Initially, the author recalls a youthful aversion to neutral colors, contrasting it with a present-day reality where beige and off-white dominate aspirational content on social media and fashion advertisements promoting 'quiet luxury.' Beigification is presented not as a new trend but as a natural evolution of earlier design movements, such as late 2010s Scandinavian decor and the widespread use of gray wood flooring. The article suggests that the current beige saturation emerged as a way to 'warm up' the previously gray-dominated interiors that were prevalent before the COVID-19 pandemic. Furthermore, it is posited that the adoption of beige and other earthy neutrals serves as a subtle indicator of wealth during economic uncertainty and provides a sense of comfort and coziness in a turbulent world. The author admits a personal struggle against the allure of beigification, particularly concerning choices for an upcoming child, such as opting for beechwood blocks and cream onesies over vibrant, plastic items. This choice is framed as a potentially delusional coping mechanism for dealing with significant life changes. The article delves into broader societal implications, questioning whether the beigification of the 2020s is a symptom of late-stage capitalism or a collective attempt to mask despair. The author expresses concern for collective sanity due to the lack of vibrancy and fun, while also acknowledging the practical appeal of beige for its easy likeability. Although not advocating for a return to past extreme trends like Y2K aesthetics or 2000s Tuscan decor, the author hopes for a shift towards more exuberant colors. The article concludes with a note of optimism, suggesting that trends are cyclical and that younger generations, like Gen Z, with their appreciation for 'chaos and clutter,' might eventually usher in a more colorful era, moving away from what is metaphorically described as 'Straight Jacket Cream' to 'Obnoxious Orange.' The author also playfully notes that babies, regardless of their parents' beige preferences, will ultimately develop their own tastes. #ColorTrends #Decor #Fashion #HomeDesign #Parenting #SocietalTrends #ConsumerCulture #Aesthetics #QuietLuxury

The Black Artists + Designers Guild (BADG), in collaboration with architects Leyden Lewis and Nina Cooke John, and featuring interiors by 25 BADG creatives, has conceptualized the Obsidian Virtual Concept House. This interactive dwelling, set in California's Oakland Hills in 2025, serves as a manifestation of an Afro-centric futurist vision, aiming to embrace possibility and freedom for a Black family through thoughtful design. The project is a central component of the month-long OBSIDIAN EXPERIENCE, an initiative by BADG to elevate the home as a space for Black imaginations and futures to thrive. Malene Barnett, artist, activist, and founder of BADG, emphasizes that 'home' is both a physical space and a feeling of relaxation, non-judgment, and being surrounded by loved ones. This philosophy underpins the entire Obsidian project, which seeks to create layered spaces that perpetually evoke these feelings. The virtual concept house allows visitors to explore various rooms, learn about the designers' inspirations, and even virtually shop for products and fixtures specified within the designs. This interactive element makes the experience engaging and practical for those seeking inspiration. Architects Leyden Lewis and Nina Cooke John led the visualization of the house, grounding their work in the belief that Black futures can be equitable, sustainable, and liberating. They describe the Obsidian Concept House as a supportive environment for the mental, physical, and spiritual well-being of the Black family, fostering expressions of joy and creativity. The architectural design integrates sustainable building practices, including geothermal heating, solar energy, rainwater harvesting, and passive-house systems, highlighting a commitment to environmental responsibility alongside cultural relevance. The interiors of the house are diverse, each informed by the unique family histories and design approaches of the participating BADG members. These spaces are dedicated to spirituality, health, food, art, and nature. Examples include Cheryl Umbles's 'An Abundance of Welcome' entryway, Cheryl R. Riley's softly lit, turquoise meditation room, Everick Brown's transformative recreation room for connection, and Linda Allen's 'I am Good Enough: A Haven for the Black Overachiever,' which functions as an artist studio and garden. Malene Barnett's 'Sankofa-Legacy Wall,' featuring ceramic tiles inscribed with ancestral names, acts as the home's centerpiece, symbolizing Black ingenuity, strength, and perseverance, and serving as a tool for Black liberation and healing. The OBSIDIAN EXPERIENCE is launched during what BADG refers to as 'The American Awakening,' a period identified as an opportunity for a 'reawakening of the Black imagination.' The project aims to demonstrate how domestic spaces can reflect the diverse identities of inhabitants, address environmental injustice, inspire new ways of living, and ultimately pave the way for a more authentic freedom. The initiative is a collaborative effort, supported by media partners such as ELLE Décor, House Beautiful, Town & Country, and VERANDA, with Hearst Magazine's Luxury & Design Collection as the media sponsor. #VirtualHome #BlackDesigners #AfroFuturism #SustainableArchitecture #InteriorDesign #CulturalHeritage #CommunityBuilding #BlackArtistsAndDesignersGuild #DesignInnovation

In this installment of the "What I Love" series, San Francisco–based designer Noz Nozawa shares the inspirations behind her vibrant interiors, which she describes as an “earth-toned rainbow” of brick reds, burnt oranges, and turquoise blues, infused with bold graphic prints. Nozawa's design philosophy is heavily influenced by jewelry, particularly statement-making shapes and earthy gemstone hues. This inspiration is evident not only in her general design work but also specifically in her debut lighting line for Corbett Lighting, where gold chains and antique jewelry styles played a significant role in her flat lay and product designs. Nozawa emphasizes a palette that feels both "buzzy and electrically cheerful" yet "mellow and vibrationally chill," driven by a high density of earth-toned colors. She details 14 specific items that embody her current aesthetic and creative process. These include the improvisational color combinations of Dirk Van Der Kooij's Meltingpot table, a piece she personally owns as a dining table. Her selection of ceramic tiles from Fireclay Tile in Vintage Leather, Bryce Canyon, and Huckleberry demonstrates her appreciation for saturated yet grounded color palettes. She is drawn to textiles like Métaphores' Hamac fabric in Epice, a "sexy see-through gingham" that she admires for its contradictory nature and wishes to incorporate into clothing. For material depth, Nozawa highlights Nakamoto Forestry's Suyaki Wood with black tung oil, admiring the natural pest and fire resistance achieved through the traditional Japanese Yakisugi (shou sugi ban) process, along with its aesthetic appeal. Her sensory preferences extend to fragrances, with Flamingo Estate's Roma Heirloom Tomato candle being a favorite for its unique, non-floral, and non-cloying scent. Jewelry remains a core inspiration, exemplified by Marla Aaron's Turquoise Rondelle Strand and Stoned Chubbylock with Turquoise, reflecting her childhood love for turquoise and appreciation for mechanical yet luxurious jewelry. She also finds inspiration in rug samples, such as the Busra rug from Safar Rugs, particularly admiring its neutral base complemented by earthy brick-red tassels. Her own creative process is represented by sketches of the Bezel and Daith sconces for Corbett Lighting, which are directly inspired by her cherished antique Victorian flush-set ring and a coveted Georgian-era stick pin. Textile choices further illustrate her eclectic taste, with Voutsa's Tartan Sea wool fabric offering a refreshing take on plaid with its unique color palette and 100 percent wool composition. Ralph Lauren's Sartorial fabric in Loden at Designers Guild, a houndstooth pattern with a hunter green tweed character, appeals to her husband's aesthetic and adds a cozy, handsome element. The Riviere chandelier sample for Corbett Lighting, featuring gold-leaf oversize mariner links, reflects her favorite chain style. Wallpaper selections like Kate Capone at Supply's Nookshelf wallpaper in Sail Away present a delightful riff on checkerboard patterns in colors she envisions for a powder room. Her collection of vintage items, such as a Japanese tin Daruma toy found in Paris, speaks to her consistent habit of acquiring Japanese antiques in Paris and French antiques in Tokyo, highlighting an idiosyncratic approach to sourcing. Finally, Gastón y Daniela's Santa Fe fabric in Rojo/Azul, with its folk pattern mixed with checkerboard and high-contrast colorways, perfectly encapsulates her "earthy play on primary colors" vibe, rounding out her "earth-toned rainbow" aesthetic. #InteriorDesign #DesignInspiration #ColorPalette #TextileDesign #LightingDesign #JewelryInfluence #HomeDecor #NozNozawa #MaterialSelection