Family traditions: Beller family carries on Tulsa’s upholstery trade

The Textile Company, a Sydney-based enterprise, has established itself as a significant force in Australia's interior design industry, supplying high-quality fabrics and wallcoverings to leading designers such as David Hicks, Greg Natale, Thomas Hamel, Alexandra Kidd, Kate Nixon, and Adelaide Bragg. Owner Peter Fitzgibbon, who started his career in a fabric warehouse in Auckland four decades ago, built the company on a deep passion for textiles. His early experiences included measuring and cutting fabric, moving into sales, and eventually buying, which led to crucial supplier relationships with international brands like Phillip Jeffries, Misia, and Fabricut. The company's showroom is organized with fabrics meticulously filed by color base, alongside a diverse library of grasscloth, wall coverings, and wall murals, reflecting a serious expertise in product. The inclusion of Peter's daughter, Jessica, marked a new phase for the business. Jessica's operational skills allowed Peter to dedicate more time to sourcing excellence and attending European trade shows, while she managed the day-to-day operations. Their collaboration leverages their distinct strengths, fostering growth and innovation within the company. Jessica emphasizes the importance of storytelling behind the brands they represent. She aims to understand and share the narrative of each fabric and wallcovering, bringing the product to life beyond its physical sample. An example she highlights is Jean Monro, a historic English fabric company renowned for weaving and hand-blocking fabrics for the British Royal Family. With King Charles's endorsement, Jean Monro is set to release 40 exclusive royal designs, showcasing a dedication to preserving traditional craft. Jessica actively hosts industry events to connect designers with craftspeople, facilitating a deeper understanding of these fabric houses. The Textile Company also champions traditional techniques, as seen in the 'Manila Hemp' grasscloth wallcovering collection from Phillip Jeffries. This collection features fibers grown and hand-loomed by artisans in the Philippines and finished by skilled craftspeople in Japan. These textural wallcoverings, available in various colors, are increasingly used in high-end residential and luxury hotel projects, offering an alternative to paint with their rich texture. Sustainability is a core focus for The Textile Company, recognizing the textile industry's environmental impact. Jessica highlights the importance of responsible selling, differentiating their products from fast fashion. She notes that reupholstering furniture is a considered act of sustainability. Peter makes conscious sourcing choices, opting for natural, pure linens and recycled polyesters whenever possible, reflecting the company's commitment to environmentally sound practices. The company's limited number of carefully selected suppliers ensures deep product knowledge and strong partnerships, allowing them to foster growth for both their business and their suppliers. Peter envisions the company as a legacy, emphasizing that while the textile business may not yield billionaires, it offers a fulfilling life of working with beautiful products and wonderful people. The Textile Company's approach reflects a blend of tradition, passion, collaboration, and a forward-thinking commitment to craft and sustainability in the world of interior textiles. #TextileCompany #InteriorDesign #Fabric #Wallcoverings #FamilyBusiness #Craftsmanship #Sustainability #LuxuryInteriors #AustralianDesign

Childress Furniture and Fabrics, a prominent Dallas-based family business, stands as a comprehensive resource for design needs, specializing in fabrics but also offering bespoke furniture and custom soft furnishings. The company's origin story dates back to 1958 when Barbara and Eugene Childress, en route from Chattanooga to California, settled in Dallas after their car broke down. They initially worked at Olive & Myers Manufacturing, a furniture company, before establishing their own upholstery business on Forest Avenue. Their entrepreneurial spirit and strong work ethic were evident early on, as they swiftly relocated and resumed operations on the same day an electrical fire forced them out of their Canton Street location. The business, initially focused on upholstery, saw significant expansion and evolution under the guidance of the Childress family's six children: Mike, Brian, Sherry, Debbie, Kenny, and Kristi. A pivotal moment occurred in 1989 when Mike, realizing a demand for customers to physically interact with larger fabric samples, proposed opening a dedicated fabric store. This led to the acquisition of a warehouse at 2512 Ferris Street. Despite initial trepidation about the financial commitment, the new store quickly garnered success, necessitating the expansion into the entire warehouse space and establishing a new entrance on Good Latimer. This expansion also allowed Childress to further develop its custom furniture building services. Recognizing that many clients were remodeling existing furniture, the family ventured into creating new pieces. They innovated by displaying sample furniture frames upholstered in white, enabling customers to visualize their custom designs and fostering trust. Over the years, Childress has navigated both triumphs and hardships, including the passing of Mike in 2017, but has consistently operated as a close-knit unit. Each family member has found their specific role within the company, with Kenny managing the Dallas store, Brian overseeing the workroom, Debbie running the Addison store, and Kristi handling bookkeeping. Barbara Childress, the matriarch, continues to maintain an oversight role. Today, Childress Furniture and Fabrics is known for its extensive selection of velvets, linens, silks, and leathers, as well as its custom capabilities in draperies, pillows, bedding, sofas, chairs, and headboards. The business emphasizes customer relationships, often transforming clients into long-term friends. Visitors to the Dallas store on Good Latimer might encounter Kenny's wife, Nancy, or long-time employee Kottun Cottongame, reinforcing the family-oriented atmosphere. The presence of family pets like Turbo and Kaizer further contributes to the welcoming and unique environment that has made Childress Furniture and Fabrics a beloved institution in the Dallas design community for decades. #ChildressFurniture #FamilyBusiness #DallasDesign #CustomUpholstery #FabricStore #InteriorDesignResources #FurnitureManufacturing #EntrepreneurialJourney #HomeDecor

This article highlights the design philosophy and personal home of Katie Kath, an interior designer and partner at Jkath Design Build + Reinvent. Kath embarked on building her dream home with her husband, Jesse, on a double-wide lot along Minnehaha Creek, aiming to create a space that prioritizes timeless interiors, exceptional quality, and impeccable craftsmanship, moving away from a standard builder-grade aesthetic. The vision for their 4,000-square-foot home was to incorporate customized features tailored to their family of five, ensuring every detail was intentional and thoughtfully chosen. The construction of the home, which commenced during the pandemic, was completed in a swift eight months. Despite the rapid timeline, design decisions were meticulously made, with Katie acting as both the manager and client. This dual role necessitated careful attention to both major and minor details to ensure the home's enduring appeal. Key design elements on the main floor include reclaimed wood beams from Manomin Resawn Timbers and alder accents in the cabinetry, island, and built-in banquette, which together create a warm and inviting atmosphere. The cast stone fireplace surround, matching the kitchen cabinetry, serves as a contemporary focal point in the living room, with white oak flooring extending up to its base for a seamless look. The home's modern design is enhanced by black-frame windows, which are balanced with gold tones to maintain a comfortable and clean feel. The baseboards and millwork are intentionally taller than standard, adding a traditional touch. Unlacquered brass cabinet hardware from Armac Martin in London provides a desired contrast in the kitchen. Beyond the physical design, the article emphasizes that the true essence of Kath's home lies in the traditions she shares with her family, especially during the holiday season. These traditions transform the house into a cozy, safe, warm, and inviting home, fulfilling her original vision of a timeless, traditional abode with festive flair. Kath also shares practical tips for incorporating seasonal spirit into home decor without overwhelming the space or compromising on timelessness. She advises decorating for the season rather than specific holidays to allow decor to remain relevant for longer periods. Sticking to neutral earth tones for the main color scheme, with bright accents, is another recommendation. Kath suggests focusing decorating efforts on main entertaining areas, like the ground floor, and involving family in the decorating process to make it an enjoyable event. Finally, she advocates for investing in high-quality, reusable decor pieces, such as garland, and taking advantage of end-of-season sales to build a collection of timeless decorations that can be cherished year after year. #HomeDesign #InteriorDesign #TimelessInteriors #HolidayDecor #CustomHome #JkathDesignBuild #Renovation #FamilyHome #SeasonalDecor

Rebecca Vizard, the founder of B. Viz Design, initially sought to leave her small Louisiana hometown of St. Joseph but ultimately found her calling there, transforming her life and launching a successful career in luxury pillow design. Despite her initial desire for an urban life, her husband's fondness for rural living and an opportunity for her father to expand the local bank led them back to St. Joseph. This return, initially perceived as a setback, became the foundation for her artistic and entrepreneurial journey. Vizard's creative inclination was evident from a young age, sewing Barbie clothes and drawing. Although her father initially disapproved of her pursuing art in college, she double-majored in art and communications, showcasing her determination. Her first business venture in St. Joe involved splatter-painting baby socks, which gained unexpected attention from major retailers like JCPenney and Dillard's. Despite its success, Vizard craved a more profound creative outlet and sought to infuse beauty into her work rather than just volume. The revenue from the sock business allowed the Vizards to build their dream home on Lake Bruin. This home became an accidental showcase for her interior design talents, with friends requesting her help with their own residences, thus marking the informal beginning of her interior design career. A pivotal moment occurred during a New York interior design project when Vizard, seeking to add historical depth to a modern space, repurposed a 19th-century drapery panel and a priest's vestment into a sophisticated pillow. This creation was a revelation, inspiring her to see the potential in antique textiles often neglected or misused. This single pillow launched her into a new design niche: transforming luxurious, rare textiles into stunning decorative pillows. She presented her early creations to New Orleans design icon Gerrie Bremermann, who successfully sold them. As demand increased, interior design projects gave way to full-time pillow making. Vizard found greater fulfillment in the finite perfection of a finished pillow compared to the ongoing nature of full room designs. The business, B. Viz Design, expanded significantly with the advent of the internet. Initially, Vizard would email photos of 15-20 new pillows monthly, selling them to the first respondent. As demand grew, her housekeeper, Belinda, self-taught herself web design and became the head seamstress and webmaster, demonstrating Vizard's commitment to providing opportunities within her rural community. The business faced challenges during Hurricane Katrina in 2005 and the 2008 recession, yet these events paradoxically spurred growth. St. Joe became a refuge, and Vizard employed evacuees with sewing skills, some of whom became her top seamstresses, turning adversity into a period of resilience and expansion. The growing success and proliferation of knock-offs prompted Vizard to write a book, 'Once Upon a Pillow,' which debuted in 2015 and elevated B. Viz Design to national recognition. The increased demand necessitated a physical retail space. The first shop in downtown St. Joe revitalized the area, attracting visitors and boosting local businesses. Her daughter, Sarah, eventually joined the business, helping to manage operations and open a New Orleans storefront on Magazine Street. This expansion made B. Viz Design a destination for designers nationwide. Rebecca approaches pillow creation with the precision of couture garment making, emphasizing meticulous craftsmanship and mathematical calculations to manage costs and production. She sources rare antique textiles from European flea markets, ensuring fair pricing to support dealers while adhering to a sustainable ethos of giving new life to centuries-old materials. B. Viz Design's unique approach fosters a loyal clientele, with many becoming collectors, drawn to the historical and artistic value of each handcrafted pillow. The business not only creates beautiful objects but also strengthens the local community by providing employment and purpose, blooming in the very place Vizard once sought to escape. #LuxuryPillows #TextileArt #InteriorDesign #Entrepreneurship #HandmadeDecor #AntiqueTextiles #SustainableDesign #LouisianaBusiness #HomeAccessories

The upholstery industry has witnessed significant evolution, with experienced professionals adapting to market changes and navigating challenges such as labor shortages and shifting customer demands. Diana Shroyer Guenther, owner of Shroyer Custom Upholstery, reflects on her career that began in 1977 when upholstery was predominantly a male-dominated field. She notes a significant shift in customer perception regarding reupholstering costs; while it once competed with new furniture prices, it now often exceeds them, unless dealing with high-end or sentimentally valuable pieces. This highlights a growing appreciation for quality and longevity over disposable furniture. Chip Lueck, owner of Recovery Room, also emphasizes adaptability. His business, which once offered full services across automotive, marine, furniture, and awnings, has had to specialize due to difficulties in finding qualified staff. Lueck abandoned automotive and most furniture upholstery, shifting his focus to marine services and awnings, which now constitute 50% of his business. He observes that while he possesses diverse skills, his employees often do not, leading to specialization within his team. This points to a broader issue within the industry concerning the availability of multi-skilled upholsterers. Phillip Russell, president of PCR Restorations and Lehr Awning Co., further illustrates market diversification. Starting from a small basement operation, his business has grown significantly, specializing in restaurant upholstery for chains like Applebee's, Red Lobster, and Olive Garden. Russell's strategy involves traveling for jobs, optimizing routes to serve multiple clients in an area, and maintaining long-term relationships by educating clients on furniture maintenance. His business also covers school bus seats, gym equipment, houseboats, and residential furniture, though he acknowledges that residential furniture can be less profitable due to competition from new, affordable items. Robert Burkart of Sewline Upholstery Ltd. in Canada, similarly caters to a wide range of markets, from furniture and automotive to boats and specialized padded covers. He identifies furniture as his primary market, driven by consumer demand for durable pieces that outlast mass-produced alternatives. However, awnings and shade screens represent his most profitable segment, largely due to installation services. Automotive upholstery, despite requiring significant time, yields the least net income due to unforeseen issues that arise once a project begins. Specialization also extends to technique and environment. Leo Pohlmann of Uncharted Marine Canvas, who expanded into marine upholstery, highlights the need for specialized skills due to the exposure to harsh elements. His upholsterers, cross-trained in both canvas and upholstery, navigate the transition from clean interior work to often dirty marine materials. Similarly, Rick Wisotzkey of Short's Marine maintains separate workspaces for different types of upholstery to prevent contamination and optimize workflow, indicating that while skills are transferable, the practicalities of the work environment necessitate segregation. The article also touches upon the challenge of finding skilled labor and the importance of education. Cynthia Bleskachek, owner of The Funky Little Chair, emphasizes the need for creative, problem-solving individuals in the industry, offering advanced classes to hone skills. Terri Madden of Sand Sea and Air Interiors notes the profitability of marine upholstery, particularly with "mega yachts," due to high demand for quality repairs and tight turnarounds, contrasting it with the administrative burden and lower profitability of aviation upholstery. The overarching concern expressed by many in the industry, particularly Chip Lueck, is the looming shortage of young, skilled professionals, posing a significant threat to the future of upholstery businesses. #UpholsteryIndustry #BusinessDiversification #MarketAdaptation #SkilledLaborShortage #MarineUpholstery #CommercialUpholstery #FurnitureRestoration #TextileInnovation #Craftsmanship

This article serves as a comprehensive guide to 12 prominent fabric brands, specifically curated for individuals looking to incorporate custom upholstery and textiles into their home interiors. The author, an expert in interior design, acknowledges that moving beyond off-the-shelf furnishings to bespoke options can be an overwhelming yet rewarding step in one's interior design journey. The selection presented leans towards modern styles but also includes brands that offer a blend of traditional and contemporary designs, ensuring a wide appeal. The guide begins with Casamance, a Parisian brand known for its romantic and painterly textiles, offering a soft approach to geometric patterns and a diverse range of materials from wools to silks, suitable for curtains, upholstery, and even outdoor furniture. Jane Churchill follows, an interior brand with traditional British roots, featuring structured florals, heritage stripes, and East Asian-inspired patterns that bring sophistication to both classic and modern spaces. Dedar, an Italian fabric brand, is highlighted for its innovative, sleek, and glamorous designs, with a global footprint and a reputation for luxury boucles, tapestry-like linens, and its iconic 'Tiger Mountain' jacquard velvet. GP & J Baker Group, though more traditional with a Royal Warrant, is presented as a brand offering classic quality plains and charmingly creative patterns through collaborations, such as with Kit Kemp, bridging traditional and contemporary design. House of Hackney is identified for its mainstream crossover appeal, known for creative, maximalist patterns in textiles and wallpapers, offering edgy palettes and dramatic florals suitable for clashing or pattern-drenching effects. ILIV, a rapidly growing UK brand, caters to a wide range of styles from luxurious velvets to country-chic, and retro to modern, with all designs created in-house. Liberty, an iconic brand, is celebrated for its intricately detailed patterns rooted in British art and design history, offering romantic florals and Art Deco flourishes in velvets, weaves, and linens for interiors. Kvadrat, a Scandinavian design brand, stands out as a modern choice favored by contemporary interior designers and architects for its clean lines, futuristic aesthetics, and minimalist textures, with separate collections for upholstery and lighter curtain fabrics. MINDTHEGAP, a Transylvanian brand, offers a unique aesthetic with folk-like inspirations and bohemian qualities, featuring intricate patterns that range from whimsical illustrations to historical frescoes. Prestigious Textiles is recommended as a go-to for interior designers seeking mid-range price points without compromising on quality, offering a large selection of in-house designed fabrics and wallpapers with a classic, timeless style. The Romo Group is presented as a collection of diverse fabric brands, each with its distinct identity: Romo for timeless patterns, Zinc Textiles for edgy luxury, Black Edition for contemporary elegance, Kirkby Design for graphic patterns with retro flair, Villa Nova for earthy organic qualities, and Mark Alexander for sophisticated, couture-like textiles. Finally, the Sanderson Group rounds out the list, encompassing Sanderson for traditional country-chic styles, Harlequin for modern and playful designs, Morris & Co for heritage prints, Clarke & Clarke for accessible yet stylish options, Zoffany for rich and opulent textures, and Scion for playful, Scandinavian-inspired graphic prints. Each brand offers a unique approach to textile design, enabling homeowners to curate a personalized mood and tell their home's story through custom fabrics. #FabricBrands #CustomUpholstery #TextileDesign #InteriorDesign #HomeDecor #BespokeFurnishings #ModernInteriors #TraditionalFabrics #DesignTrends

The Curly Willow is a new home decor retail shop in Truesdale, Missouri, opened by interior designer Ellen Wortham. The store, which had its grand opening on Black Friday, is an extension of Wortham's three decades of experience in the design industry, particularly through her existing firm, JE Design Group, which she co-operates with Jeanne Huber on the same six-acre property. Wortham's vision for The Curly Willow is to provide a curated selection of home goods that caters to individuals who may not require a full interior design project but are looking to refresh their living spaces with unique pieces. The store's name, "The Curly Willow," was chosen by Wortham to evoke both a sense of artistic flair and a connection to her design roots. The logo, featuring a drawing of a curly willow tree, and the tagline "Rooted in Design" deliberately reflect her extensive background in interior design. This foundational experience influences the shop's inventory, which includes a diverse range of furniture, florals, fabrics, wallpaper, and cabinet hardware. Wortham emphasizes sourcing items directly from manufacturers to ensure quality and offers both ready-to-purchase items and custom orders for fabrics and draperies, available by the yard. A key differentiating factor for The Curly Willow is its selection of unique pieces and trims that are typically hard to find without the assistance of a professional designer. Wortham aims to provide an accessible way for the general public to acquire these specialized items. In addition to larger home furnishings, the store also features a thoughtful collection of gift items. Wortham prides herself on offering gifts that are special, unique, and not commonly found elsewhere, distinguishing The Curly Willow from typical retail establishments. Supporting other small businesses is a core value for Wortham, as evidenced by the inclusion of local Missouri products in her inventory. This includes dog treats from a local company, a local jewelry line, and various ornaments sourced from nearby artisans and small businesses. This commitment to local partnerships enhances the store's unique offerings and contributes to the regional economy. The location of The Curly Willow, while slightly off the main thoroughfare within an industrial park, is strategically positioned on a common route between St. Louis and popular attractions like Hermann's wineries and the Lake of the Ozarks, potentially drawing in both local and transient customers. Wortham leverages social media to reach potential customers, particularly given the booming home construction in the area. She also relies on word-of-mouth referrals and road trips from nearby regions. A significant aspect of The Curly Willow's appeal is Wortham's willingness to share her extensive design expertise with shoppers. Whether it's offering advice on staging a console table, demonstrating how to create a bow with non-wired ribbon, or providing insights into more complex interior design solutions, she views this as a natural extension of her service. This hands-on guidance and knowledge sharing aim to create a valuable and personalized shopping experience, encouraging repeat visits and building a loyal customer base for both the retail store and the JE Design Group.

Centreville, Delaware, a village situated south of Chadds Ford, Pennsylvania, maintains its 18th-century charm while evolving into a dynamic hub for shopping, dining, and community gathering. Known for its historical architecture and a newly enhanced park, Centreville is attracting visitors with its diverse offerings and a monthly "wine walk." Resident Alan Livadas has been instrumental in revitalizing the area, beginning with the renovation of a historic structure and the subsequent purchase of The Shoppes at Centreville Barns. Livadas, collaborating with architect Richard Buchanan, aims to restore the Chandler–Dixon House and other outposts to their original character, envisioning a more walkable community with enhanced pathways and seating areas. The shoppes currently host a variety of merchants contributing to Centreville's unique appeal. Among the featured businesses is Adorn Goods, owned by Jennifer Steiner, offering home decor, kids' accessories, and a small market with cooking and entertaining accoutrements. The Centreville Café, under new owner and chef Elizabeth Moro, is transforming into a community hub with a refreshed menu, food market, and decor, including a family table designed to encourage shared meals. The café also provides space for private events. Susan Trezise's Fabulous Finds emphasizes the value of preserving and repurposing existing items, selling antiques from various eras and origins, including auctions and Sotheby's. Wild Thyme, a florist shop opened by Laurie de Grazia, specializes in high-end, distinctive floral arrangements and an eclectic collection of home goods and gifts, including ceramics by local artist Abby Patterson. A Marblehead Flyfisher Inc., owned by Terry Peach, has been a fixture in Centreville for 18 years, serving as a premier fly shop on the East Coast. It offers gear for various types of angling and benefits from its proximity to trout streams and rivers. Crystal Young's Crystal’s Vintage and Costume Jewelry caters to those who enjoy elaborate fashion accessories, featuring a wide range of costume pieces for all occasions. Karen Helme's Found, which has offered interior design services since 1999, houses period antiques, vintage furniture, and occasional new items, advocating for classic pieces that endure over time. Grooves & Tubes, owned by Gerald Young, is a record shop that has been buying and selling LPs and equipment for over a decade, also offering repair services for various audio devices. Linda Harris Reynolds, an award-winning portrait artist, operates her Fine Art Studios in Centreville, where she creates portraits and teaches classical painting classes through the Centreville Art Students’ League. Michael Gunselman Antiques, a collaboration between Gunselman and Richard Worth, specializes in traditional antique furnishings, decor, and early American toys. Salon 926 provides cutting-edge hair services, including bespoke cuts, coloring techniques, and men's grooming. Shish Interiors, founded by Sally Hunsinger, offers interior design services, furnishings, and home accoutrements, focusing on personalizing spaces within clients' budgets. Yocum Shutters & Blinds, a long-standing business since 1950, provides window treatments such as shades, blinds, and custom draperies from its location in the Chandler–Dixon House. #CentrevilleDelaware #LocalBusinesses #HistoricPreservation #HomeDecor #InteriorDesign #Antiques #CommunityRevitalization #Shopping

Susan “Rabbit” Goody, founder of Thistle Hill Weavers in Cherry Valley, New York, has dedicated her life to the meticulous reproduction of historic textiles. Her workshop, established in 1989, specializes in creating fabrics that faithfully replicate the weave, texture, weight, and color of historical materials for a diverse clientele including filmmakers, television producers, historic houses, and high-end furniture and clothing companies. Goody’s unique skill set makes her an indispensable resource for costume designers seeking unparalleled historical accuracy in their productions. Goody's journey into textiles began in her teenage years, driven by a fascination with the weaving process. After earning a degree in cultural anthropology and ethnomusicology from Bennington College in 1972, she moved to rural New York, where she initially supported herself through farm work. In 1975, she purchased a 150-acre farmstead and, with her first husband, built a home inspired by a 1690 Connecticut house. She developed a successful hand-weaving business, selling cashmere-and-silk scarves to stores like Saks Fifth Avenue. Her expertise grew during her tenure as head of the domestic arts program and curator of textiles at the Farmers’ Museum in Cooperstown, where she became a recognized authority on early American textiles. Goody also founded the Textile History Forum, an annual conference that convenes researchers, museum professionals, and scholars. In 1989, she moved her operation into an old feed mill, later expanding to a purpose-built facility next to her home. Today, Thistle Hill Weavers employs seven individuals trained by Goody to operate nine mechanized shuttle looms, some dating back to the 1890s, alongside archaic equipment like warp winders and quillers. Goody’s commitment to authenticity is evident in her approach to acquiring and maintaining machinery. She has salvaged looms from closing textile mills across several states, often from the legendary industrial loom-maker Crompton & Knowles, and has taught herself to repair and operate them. This dedication ensures that her workshop can produce textiles with historical integrity. Her fabrics have graced numerous film and television productions, including "The Gilded Age," _Cinderella Man_, _Master and Commander_, _No Country for Old Men_, _Noah_, "John Adams," and "Turn: Washington’s Spies." She even hand-wove a replica of a fragment of the original Star-Spangled Banner for a Smithsonian event. When a costume designer approaches Thistle Hill, Goody employs a blend of historical knowledge and modern technology. She uses a computer-attached loom to experiment with weave patterns and selects threads to match specific weight, texture, and color requirements. Her process involves creating small woven samples, which are then expedited to clients for review. This meticulous attention to detail is crucial, as even subtle changes in yarn weight or color can significantly alter a fabric’s character, impacting an actor's movement and the overall authenticity of a period piece. For instance, a fabric she produced for Tom Hanks’ overcoat in _Road to Perdition_ had to be re-woven with lighter materials for rain scenes due to its original, historically accurate weight making it too heavy when wet. Goody’s reputation as a historian and her practical skills make her an invaluable collaborator. Costume designers like Joanna Johnston, who worked with Goody on Steven Spielberg’s _Lincoln_, praise her weaving abilities and extensive historical knowledge. Goody recreated Abraham Lincoln’s shawl for Daniel Day-Lewis based on a detailed study of the original held by the Smithsonian. Beyond film, her work extends to historic preservation, such as creating delicate white dimity curtains for Emily Dickinson’s bedroom and a brightly striped Venetian carpet. She also produces custom fabrics for diverse applications, including a 'Mandalorian' cloak, demonstrating the versatility of her workshop. At 72, Goody remains actively involved in her mill and farm, displaying no plans for retirement, driven by her passion and the unique, irreplaceable skills she possesses in bringing the past tangibly to life through textiles. #TextileHistory #HistoricTextiles #CostumeDesign #FilmProduction #ThistleHillWeavers #RabbitGoody #LoomWeaving #TextileConservation #CulturalHeritage

This article highlights five textile companies based in the Hudson Valley, emphasizing their contributions to home decor with ethically produced, beautiful, and original designs. The featured companies offer a range of products from rugs and bedding to table runners, all crafted with unique artistic visions and sustainable practices. Jessica Brush, an Upstate native, founded Brush Textiles after being inspired by block-printed Indian fabric during a trip to Jaipur. Her designs incorporate patterns and color palettes from vintage 1960s and 70s magazines, creating a modern and simple aesthetic. The products, including quilts, throws, tablecloths, duvet covers, and napkins, are entirely handmade in India, from wood carving and stamping to sewing. Brush Textile quilts are specifically noted for their hand-stitched cotton thread using a 'long running stitch' technique, where the ends of each stitch are left unknotted. Alicia Adams Alpaca, founded by Alicia and Daniel Adams, specializes in soft, cashmere-like alpaca yarn sourced from their 80-acre farm in Stanfordville, NY. This yarn is woven into blankets, capes, sweaters, and pillows, forming their clothing and homeware line. The alpaca fur naturally comes in 22 different shades, and after processing, it is dyed and woven into ultra-soft knits, offering warmth suitable for harsh climates while maintaining a luxurious feel. MINNA, founded by Sara Berk, is a textile line rooted in ethical sourcing and social responsibility. Berk, with a background in graphic design, develops all patterns, often starting at the loom for inspiration. The textiles, which include rugs, throws, and duvets, are produced in collaboration with women artisans and master weavers in Mexico, Guatemala, Bolivia, and Uruguay. MINNA's designs draw inspiration from Feminist art, the Bauhaus movement, traditional crafts, and vintage textiles, reflecting a commitment to both aesthetic quality and social values. The brand maintains an online presence and a storefront in Hudson. Alison Kouzmanoff’s Palampore Fabrics & Hangings draws inspiration from the natural surroundings of her Germantown home. Her textile patterns, named after wild plants like Ground Ivy, Bloodroot, and Sumac, combine a refined, minimalist rural aesthetic with influences from traditional 17th and 18th-century Indian Palampores. These made-to-order hangings, produced in the US using water-based, ecologically safe pigments, can be customized in various sizes and colors, making them versatile for wall hangings, window panels, throws, tablecloths, or bedding. Doonyaya, led by Dunja Von Stoddard, creates colorful linens and pillows. Von Stoddard's designs are influenced by her childhood experiences drawing in her mother's Hudson Valley painting studio and her enduring appreciation for brightly colored, simple shapes. She begins with sketches, experimenting with pattern, repetition, and color, and then screenprints each piece by hand in her converted 19th-century barn studio. Her recent collections have featured elaborate patterns found in nature, such as tree rings, veiny leaves, and pine needles, rendered in a palette that reflects both the cool tones of autumn and the warmth sought in colder weather, like cranberry, pumpkin, gray, chartreuse, robin’s egg, deep teal, and onyx. Von Stoddard is primarily inspired by patterns, which she observes everywhere and uses to organize her visual world, including both natural elements and her immediate surroundings. #HudsonValleyTextiles #EthicalProduction #HandmadeFabrics #HomeDecor #TextileArtisans #SustainableDesign #UpstateNY #Craftsmanship #InteriorDesign

Vintage quilts serve as tangible connections to the past, embodying a rich history through their diverse patterns and the human touch involved in their creation. In an era of rapid-fire decor trends, quilts stand out as products of meticulous handcraftsmanship, often born from necessity and a vivid imagination, designed to provide both warmth and aesthetic appeal to a living space. The history of quilting in America is deeply intertwined with social narratives, emerging as a democratic art form brought from England. Largely practiced by women, quilting transformed leftover fabrics from clothing and household items into functional and expressive pieces. Kate Owen, a textile artist from Colorado, notes that quilting has long been a medium for art, self-expression, and enterprise, often documenting a family's history through fabric scraps used for warmth or as gifts. The American Folk Art Museum (AFAM) highlights the ancient origins of quilting, dating back thousands of years. Early American quilts, known as “wholecloth” pieces, were considered luxury items in the 18th century when textiles were scarce. With increased fabric availability in the 19th century, pieced quilts became common, featuring classic designs like Flying Geese and Lemoyne Star, which are preserved in the museum's collection. Experts like Christopher Wilson-Tate, an antique quilt dealer, emphasize that older quilts tell stories of migration, community bonds, and resourcefulness, with every stitch conveying intention and forming a visual diary. American quilters adapted regional patterns using available materials, resulting in textiles that reflect local styles and domestic life. AFAM’s exhibition, ‘The Ecology of Quilts,’ positions quilts as more than decorative objects, describing them as “amazing storytellers and amazing survivors” whose histories are shaped by evolving materials, global textile trade, and numerous makers. Understanding these material histories reveals the deeper contexts behind design elements, such as botanical motifs rooted in quilters' interactions with local flora. Vintage quilts possess unique qualities that only time and use can impart, distinguishing them from contemporary creations. Christopher Wilson-Tate points to the “alchemy that happens only with time,” where colors mellow, cottons soften, and seams develop a subtle texture that new fabrics cannot replicate. These changes are not imperfections but rather integral to a quilt’s character and desirability. Ali Mahon, a designer and antique dealer, notes that 19th-century quilts, made from natural, homespun cottons, wools, and feed sacks, exhibit a “perfectly imperfect” quality. Their durability stems from natural fibers and handwork, allowing them to age gracefully and develop a rich patina. AFAM curators add that vintage quilts also hold ecological histories, offering insights into labor-intensive processes of fiber cultivation and dyeing before modern synthetic materials. For many designers, vintage quilts align with a renewed appreciation for heirlooms and handmade items. Laura Evans and Karie Reinertson of Mother Studio source vintage quilts and commission new ones with the intent that they, too, will become cherished vintage pieces, each tear or stain marking a family’s history. Hospitality brands, like Ash Hotels, also embrace vintage quilt aesthetics, with creative director Xavier Donnelly commissioning custom quilts inspired by historical designs, noting that antique patchwork adds texture, color, and a joyful, unstuffy feel to a room. The practice of repairing antique quilts, as done by Kate Owen, further reveals their evolving nature, sometimes uncovering older quilts used as batting within newer ones, illustrating their continuous life across generations. Vintage quilts are intended for practical use and are an excellent choice for those looking to incorporate vintage decor without worrying about fragility. Kate Owen advises homeowners to display quilts draped over furniture, spread across beds, or hung as wall art to honor the makers' hard work. Styling can range from subtle to expressive; Mother Studio uses quilts seasonally to add depth and softness. For smaller quilts, they suggest adding a sleeve and hanging them on walls, a method also favored by Ali Mahon who recommends mounting them on stretcher bars for gallery-style groupings. Christopher Wilson-Tate views quilts as combining “texture and narrative,” making them suitable for open shelving or as a focal point above a bed. Tori Jones Studio provides further inspiration for displaying quilts in lived-in spaces. The article concludes that vintage quilts impart a profound sense of depth to interiors, grounding a room with authentic material history and reminding us that the most engaging homes are built through layers of objects that have experienced lives before becoming part of our own. When sourcing a vintage quilt, the focus should be on character rather than flawlessness. Christopher Wilson-Tate suggests looking for minor fading, softening, and small repairs, as these details contribute to a quilt's narrative, while avoiding extensive damage. Natural fibers like cotton and linen tend to age best, and hand-quilted pieces are identifiable by the way their stitching interacts with light. Pattern preferences vary among collectors; Ali Mahon favors jewel tones, Double Wedding Ring, and Crazy Quilt designs, while Christopher Wilson-Tate observes renewed interest in chintz medallions, Amish geometrics, log cabins, and star motifs, all of which complement contemporary interiors. AFAM encourages buyers to consider the material provenance beyond just the pattern, asking about the origin of the fabric to deepen the quilt’s story. Vintage quilts can be found on online platforms such as eBay, Etsy, Chairish, and 1stDibs, with reputable textile dealers ensuring accurate information on fiber content, age, and condition. Additionally, estate sales, antique fairs like Brimfield or Round Top, and second-hand shops are excellent sources for unique pieces and even entire collections. #VintageQuilts #InteriorDesign #HomeDecor #TextileArt #QuiltingHistory #HeirloomDecor #SustainableDesign #CollectingAntiques #AmericanFolkArt

Julie Paterson, the founder of Sydney-based Cloth Fabric, is an English-born textile designer whose work is deeply inspired by the Australian bush. Her creative process emphasizes the journey and the immersive experience of design. Paterson, who arrived in Australia twenty-five years ago with a textile design degree, initially freelanced, creating European-style designs for manufacturers. However, driven by a desire to produce something uniquely Australian and to challenge the perception that overseas designs were superior, she transitioned to hand-painting and hand-printing fabrics, drawing inspiration from the Australian landscape. Today, all of Cloth Fabric's manufacturing is local, reflecting Paterson's commitment to sustainability and environmental responsibility. She collaborates with skilled craftspeople, utilizing natural fabrics such as high-quality upholstery-grade hemp and linen, which sets her work apart from lighter hand-printed textiles. The fabrics are screen-printed by hand on a thirty-metre-long table in a tin shed, highlighting a low-tech, artisanal approach. The Cloth Fabric retail space in inner Sydney, formerly a prestige car showroom, now showcases a wide array of fabrics, lampshades, cushions, and features a small in-house workroom where piece goods are created. Beyond fabrics, Paterson licenses her designs for wallpapers, rugs, and bed linen. However, her greatest joy lies in collaborating with designers and architects on various projects, which she considers her primary passion. Her studio in the Blue Mountains serves as a sanctuary where she downloads ideas from her notebooks, identifying recurring themes that evolve into lino prints or painting series. These then inform her fabric designs. Paterson's "Natural" collection exemplifies this process, directly drawing inspiration from the Wollemi pine and grey ironbark trees, as well as the bark, stone, and clay found in her Blue Mountains garden and its surroundings. In a further extension of her artistic vision, she has partnered with a local potter to develop a range of clay pieces that complement her furnishing fabrics, offering a cohesive and distinctive interpretation of the Australian landscape. The article was published on March 4, 2014, with words by Deborah Niski, and also appeared in the December 2013 issue of Houses magazine. #JuliePaterson #ClothFabric #TextileDesign #AustralianBush #HandprintedFabrics #SustainableDesign #LocalManufacturing #InteriorDesign #BlueMountains #NaturalCollection

The Gee’s Bend textile artists, including Loretta Pettway, Delia Bennett, Annie E. Pettway, Magdalene Wilson, and Mary Lee Bendolph, have inspired a new furniture collection. Their renowned kaleidoscopic quilt patterns are being translated into a vibrant home furnishing line by the Philadelphia Museum of Art and Cloth & Company, a Chicago-based firm. This collaboration marks a fresh approach to bringing the celebrated artwork of these Alabama artists into people’s homes, following various other reproductions like puzzles, notecards, and scarves. The Gee’s Bend quilts gained international recognition through an exhibition at the Museum of Fine Arts, Houston, in 2002. The current furniture collection is a direct outgrowth of the "Souls Grown Deep: Artists of the African American South" exhibition, which was hosted by the Philadelphia Museum of Art in 2019. Christine Kostyrka, the director of retail at the Philadelphia museum, was deeply inspired by the quilts during this exhibition and recognized their potential for furniture reproductions. Kostyrka initiated the collaboration by contacting Meganne Wecker, founder of Cloth & Company. Wecker embraced the concept, leading to engagement with the artists and their estates. The project also involved Dilys Blum, senior curator of costume and textiles at the museum, to ensure the quilters' narratives and the integrity of their handiwork were respected and accurately represented. The goal was to tell the quilters' stories and honor their traditional craft through this new medium. The collection comprises sixteen upholstered furniture and décor items, such as chairs, headboards, pillows, and ottomans. Each piece is adorned with reproductions of five specific quilts from the Philadelphia Museum of Art’s permanent collection. The nature of the quilt patterns lends itself particularly well to furniture upholstery, with the reproductions meticulously capturing the visual texture, including wrinkles and patinas, that characterize the original hand-stitched works. This attention to detail makes the furniture appear as if it is upholstered with the actual quilts. These exclusive pieces are retailed solely through the Philadelphia Museum of Art’s retail store. The store provides comprehensive biographies of the featured artists and historical context for each quilt design, enriching the consumer's understanding and appreciation of the art. Each furniture item is made to order by Cloth & Company in Chicago and typically delivered within three weeks of purchase. A significant aspect of this initiative is that every sale generates royalties for the artists, providing a direct benefit to the Gee's Bend community and acknowledging their invaluable artistic contributions. This collaboration not only celebrates the work of these talented women but also offers a unique way for individuals to incorporate these iconic designs and their rich cultural legacy into their living spaces. #GeeBendQuilts #FurnitureCollection #TextileArt #HomeDecor #PhiladelphiaMuseumOfArt #ClothAndCompany #AfricanAmericanArt #CulturalHeritage #HandcraftedDesign

This article highlights the extensive renovation of a Craftsman-style home located in the Belmont Addition Conservation District. The house, initially appearing to be an original 1930s build or a simple remodel, is in fact a comprehensive reimagining by Anam Hashambhai and her husband Aamir, through their real estate investing firm, The Twenty One Group. The couple, who established their firm eight years prior, transitioned from renovating homes for rent to flipping properties for sale due to market shifts and rising interest rates. They have completed over 50 flips in the Dallas area within two years, with a strong focus on East Dallas and a commitment to community revitalization. The renovation of this particular Craftsman home involved taking it down to its studs and rebuilding it to honor its historic roots while integrating modern amenities. Despite initially hoping to restore the home, significant issues necessitated a complete rebuild from the foundation. The Twenty One Group worked diligently to ensure the new construction seamlessly blended into the Belmont Addition Conservation District, incorporating period-appropriate details like dentil molding, extra trim work around windows and doors, and a two-toned paint scheme. Anam Hashambhai noted that working within a conservation district was less restrictive than anticipated, allowing for a smooth process without major delays. The project significantly expanded the home's size to 3,429 square feet, now featuring four bedrooms and four-and-a-half bathrooms. The design, executed in collaboration with The G Group, introduced an open floor plan and essential modern conveniences not available in older homes. These additions include a mudroom at the back of the house and an oversized butler's pantry that functions as a prep kitchen. Interior finishes include timeless white oak hardwoods throughout the residence. The investors also prioritized curb appeal and professional staging to attract potential buyers. Fern Design Co. staged the interiors, helping buyers visualize the space, especially with the open-concept layout. Bee Contained handled the landscaping to enhance curb appeal. These elements are recognized as crucial for engaging buyers and securing offers, with staging considered a minimal expense with significant returns. The home's second floor includes another living space, two secondary bedrooms, and a principal bedroom suite complete with a custom-designed bathroom and a private balcony. Positioned steps away from the dining, shopping, and nightlife of Lower Greenville, the reinvented Craftsman home offers both historical charm and contemporary functionality. The Twenty One Group's efforts have resulted in a property that successfully integrates into its historic setting while providing all the comforts and conveniences expected in a modern residence. The property, located at 5711 Belmont Ave., is listed by Compass Realtor Amy Sack, a partner in TREND Group, for $1.399 million, and was featured with an open house scheduled for Sunday, September 14, from 2-4 p.m. #CraftsmanHome #HomeRenovation #BelmontAddition #ConservationDistrict #RealEstateInvesting #TheTwentyOneGroup #DallasRealEstate #HistoricPreservation #ModernAmenities

The use of vintage and antique textiles in interior design offers a unique way to imbue spaces with character and historical depth. However, integrating these fabrics effectively requires careful consideration to avoid a shabby or overly 'Miss Havisham' aesthetic. While an antique armchair with faded chintz might appear charming at first, its condition could reveal itself as truly worn or stained upon closer inspection. This article suggests that while a full reupholstering might sometimes be necessary, antique textiles can still be incorporated successfully into modern interiors. Experts like Cassandra Ellis, founder of Atelier Ellis, and interior designer Henriette von Stockhausen of VSP Interiors advocate for vintage fabrics due to their ability to provide a lived-in, comfortable, and softened feel to a room. These fabrics can make a formal space feel more relaxed and approachable. Ellis notes that old fabric can give life to a piece in a way modern fabrics cannot, highlighting the sustainability aspect as well, given the abundance of existing textiles. Von Stockhausen similarly emphasizes that vintage fabrics add depth to an interior. A crucial factor when using vintage textiles for upholstery is suitability. Joanna Plant, an interior designer who frequently uses these materials, advises assessing the fabric's weight and fragility. Robust woven fabrics are suitable for ottoman tops, while more delicate materials might be better for less-stressed areas like the sides of furniture or headboards. Ellis cautions against using fragile materials like 1940s French silk velvet on high-traffic items like family sofas, suggesting they are better suited for occasional pieces such as bedroom chairs. For items requiring durability, linen sheets or Hungarian cloth are recommended, as they can be pieced together and are robust. While embracing imperfections is part of the charm, Henriette von Stockhausen advises against using fabrics that are beyond repair. Instead, she suggests repurposing usable sections and praises the art of patchworking for its environmental and soulful benefits. Joanna Plant offers a clever solution to prevent a 'scruffy' look: combining vintage textiles with new fabrics. This approach allows for the use of vintage materials on less-used parts of a piece, such as the inside back or outside arm of a chair, while more durable new linens or cotton velvets are used for high-wear areas like seat covers or leading edges of curtains. Trims can also add a crispness to vintage textiles, preventing them from appearing too shabby. Sourcing vintage textiles can be done through various channels, including specialized dealers like Katharine Pole, Amanda Leader, and The Dyeworks, as well as online platforms like Etsy and antique fairs such as Kempton or Ardingly. For fabrics that require minor restoration, a textile restorer is recommended, and dry-cleaning before upholstery is a vital step. The article highlights that Christopher Howe is known for his masterful use of antique textiles on furniture, creating beautiful examples. Finally, selecting an experienced upholsterer is paramount when working with vintage textiles. A skilled craftsperson will understand the unique challenges and sensitivities of these materials. It is advisable to visit the upholsterer and place the textile on the furniture piece together to ensure the desired outcome. Upholsterers should be briefed that perfection is not expected, and minor flaws or even patches are acceptable, reflecting the inherent nature of working with old materials. The overarching philosophy when using vintage textiles is to embrace their fragility and imperfections, viewing their use as a celebration of their history rather than allowing them to remain unused. #AntiqueTextiles #VintageFabrics #Upholstery #InteriorDesign #HomeDecoration #SustainableDesign #FurnitureRestoration #FabricSourcing #TextileArt