Massive Circular Weavings by Tammy Kanat Combine Intuitive Pattern-Making and Natural Fibers

For a decade, Australian artist Tammy Kanat has been exploring the artistic potential of fiber, texture, and knots through her weaving practice. Her monumental wall hangings incorporate a variety of natural materials and techniques, such as tufted wool patches, concentric linen circles, and fringed silk motifs, often suspended within irregularly shaped brass rings. These elements collectively form abstract designs that evoke organic shapes and naturally occurring patterns. Kanat’s artistic philosophy centers on capturing energy and movement within her work. Each abstract piece is a dynamic interplay of high piles and flatweaves, meticulously crafted from thousands of individual knots. Rather than adhering to a predefined blueprint, Kanat allows each creation to evolve organically, likening the process to writing a novel where each weaving is a chapter, and the final outcome remains unknown until completion. This iterative approach maintains her engagement and drive throughout the creative process. Kanat draws significant inspiration from her natural surroundings, which has led her to create increasingly intricate woven shapes. She expresses a growing fascination with the slow, detailed nature of weaving, continually experimenting with different knotting techniques. Her most recent collection, titled *A Woven Metaphor*, features wall hangings constructed on more angular frames. These pieces are characterized by vibrant color gradients that radiate outward from a central point. Kanat explains that these works are designed to draw the viewer into the piece through the gentle interplay of shapes and colors. The composition often features a dark center that gradually transitions to lighter tones on the periphery, symbolizing a shift from complexity to a sense of relief and openness. She describes her works as a harmonious blend of complexity and simplicity, showcasing her ability to balance intricate details with overarching minimalist aesthetics. The artist regularly shares insights into her weaving and shaping methods on her Instagram, providing followers with a behind-the-scenes look at her creative journey. Additionally, a comprehensive archive of her works, including her special 10-year celebratory project, is available on her official website. This digital presence allows a wider audience to explore the depth and evolution of her fiber art, highlighting her innovative use of materials and her unique approach to abstract textile design. #TammyKanat #FiberArt #TextileArt #Weaving #WallHangings #NaturalFibers #AbstractArt #CraftArt #ContemporaryArt

The year 2025 has introduced a variety of new indoor and outdoor fabric collections, providing extensive inspiration for interior design. This overview highlights eight notable collections that offer distinct aesthetics and innovative features for refreshing living spaces. William Morris At Home's "The Forager Collection," derived from the William Morris Gallery, features nature-inspired patterns, wovens, and cut velvets. The collection evokes a woodland aesthetic through vibrant fruit designs and popular patterns like Acorn and Willow Bough, aiming to add a whimsical touch to any interior. Sanderson's "Highgrove Collection," a collaboration with The King’s Foundation (founded by King Charles III), draws inspiration from the flora and fauna of Highgrove Gardens. This collection includes wallpapers, fabrics, weaves, embroideries, and stripes, integrating design elements from Sanderson's 165-year archive. A standout is the Highgrove toile, which depicts motifs such as yew tree hedges, pots, the Oak Summer House, and a topiarised English yew, along with King Charles III’s bust. The "Brown Jordan x Kravet Collection" is a partnership between two established brands, offering over 40 luxurious outdoor performance fabrics. Designed for outdoor relaxation, this collection features a natural color palette to blend seamlessly with various outdoor environments. Notable options include Bloom Steel, admired for its subtle design, and Balance Marine, recognized for its bold stripes. These fabrics are exclusive to Brown Jordan and can be used on many of the brand’s signature furniture pieces. Rubelli's "Teorema Collection," designed by Formafantasma, marks the brand’s initial venture into wool fabrics, alongside silks. Characterized by bold geometric patterns and striking colors, these fabrics are soft yet durable. "Fortunato" is a jacquard velvet within this collection, featuring an alternating pattern of cut velvet and higher pile trapezoids, which creates a dynamic, shimmering effect. Dedar's "Weaving Anni Albers Collection" is a collaboration with the Josef & Anni Albers Foundation, reinterpreting iconic Bauhaus textiles for contemporary use. The collection integrates Albers’ textile works with Dedar’s manufacturing techniques, preserving the beauty of handwoven textiles through modern methods, as exemplified by fabrics like Under Way 1963. S. Harris’s collaboration with Sasha Bikoff presents a collection that embraces maximalism and draws from fashion history. This colorful assortment of fabrics, wallcoverings, and trimmings offers youthful designs for creative expression. Examples include the Beating Hearts trim paired with the French Kiss fabric for an exuberant combination. James Dunlop’s "Alfresco Collection" emphasizes durability, sophistication, and texture for both indoor and outdoor applications. These textiles, made from solution-dyed olefin and recycled yarns, feature FibreGuard stain resistance, ensuring superior colorfastness when exposed to UV rays. Airlie, an indoor-outdoor boucle woven in Turkey, is highlighted for its low-maintenance luxury. Meredith Ellis Textiles’ "The Botanical Collection" is inspired by the Texas Hill Country, featuring richly layered designs. This collection includes seven new prints, two decorative borders, and one woven design, resulting in 40 fresh patterns. It evokes themes of sun-baked afternoons and an Americana spirit, blending Southern influence with whimsy through patterns such as Hyder and Huntington stripe. These collections collectively represent a fusion of heritage, innovation, and design, suitable for enhancing various interior and exterior spaces. #FabricCollections #InteriorDesign #TextileInnovation #HomeDecor #LuxuryFabrics #OutdoorFabrics #NatureInspired #GeometricPatterns

This article introduces Shadé Akanbi, a Brooklyn-based freelance pattern designer and the Creative Director and Designer behind Printed Pattern People. Akanbi's design philosophy is rooted in her multicultural upbringing, which has instilled in her a passion for creating global fusion lifestyle and brands. Her work involves translating traditional ethnic patterns and textiles into contemporary interpretations suitable for everyday use. Akanbi's creative process often begins with identifying a specific motif or detail from traditional textiles. This chosen element then serves as the central inspiration, around which she constructs new patterns using fresh colors and additional details. She is prolific in her output, creating between one to six prints daily, drawing inspiration from personal collections, client ideas, or a combination of both. Akanbi is known for her collaborations with various brands, in addition to maintaining her extensive collection of global textiles. Her first major collaboration was with Anthropologie in early 2020, where her artwork was featured in an accessories and sleepwear collection. Since then, she has partnered with notable brands such as Intermix, Zuri, S'well, Chasing Paper, Netflix, and Target. Her most recent collaboration at the time of the article's publication was with Bounty Paper Towels, as part of their Inclusive Artists Project initiative. This partnership involved her artwork being featured on the Bounty Prints collection paper towels and her image appearing on the packaging, an experience she described as surreal due to the widespread nature of the household item. The article highlights Akanbi's ambition and future aspirations. As an avid traveler, she expresses a desire to collaborate with airlines and boutique hotel brands, specifically mentioning Delta, Jetblue, Kimpton, and Hyatt, envisioning these as platforms to showcase diverse art mediums. Her interest extends to athletic footwear brands like Nike, Adidas, Puma, and Vans, reflecting her passion as a sneaker collector. Furthermore, her background as a collegiate basketball player and a fan of the NBA/WNBA drives her dream to work with her favorite sports teams. Ultimately, Akanbi seeks to partner with brands with which she shares strong personal connections, aiming to utilize these collaborations as unique avenues for artistic expression. Her personal history significantly influences her artistic vision. Akanbi recounts how her upbringing, from her mother's styling choices to her father's Nigerian cooking, and her early travels, particularly her first trip to Nigeria, profoundly shaped her as an artist. These diverse experiences, encompassing sights, sounds, textures, tastes, and emotions, have cumulatively impacted her design sensibility. Her ability to blend cultural influences and her innovative approach to pattern design underscore her unique position in the design world. The article concludes by encouraging readers to explore more of Shadé Akanbi's work via her Instagram and mentions a past collaboration where she provided a Designer Desktop wallpaper for Design Milk. #PatternDesign #ShadeAkanbi #TextileArt #CulturalFusion #BrandCollaborations #ArtisticProcess #DesignInspiration #GlobalTextiles #CreativeDirector

The collaboration between Snøhetta and Ege Carpets introduces MATTER, a flatwoven carpet collection that merges digital and physical design, challenging traditional pattern-making through algorithmic randomness. The project draws inspiration from nature's inherent uniqueness, where patterns emerge organically without exact repetition, transforming perceived imperfections into a desirable characteristic. Each carpet in the MATTER collection is unique, created by an algorithm that prevents any two compositions from being identical, echoing the natural world where no two specimens are exactly alike. This approach positions the carpet as a dynamic, almost living element, moving away from conventional industrial production towards a more natural aesthetic. Francesca Giulia Poli, Product Designer and project lead at Snøhetta, describes MATTER as an exploration of scale, craftsmanship, and technology. The design process views the carpet not merely as a surface but as a 'woven landscape,' meticulously constructed from individually manipulated threads. The project investigated how micro-scale design decisions, from code to pixel to thread, can influence macro-scale spaces, resulting in a surface that appears uniform yet constantly shifts depending on the viewer's movement through the space. This innovative methodology allows for a continuously evolving aesthetic that resists serial repetition. MATTER is produced using Ege Carpets' advanced flatweave loom, ensuring both material quality and digital precision. The collection emphasizes sustainability through the use of selected recycled yarns, aligning with a circular design philosophy. The flatweave manufacturing technique also guarantees the product's durability, making it suitable for high-traffic environments while maintaining its aesthetic integrity over time. The material choices and manufacturing process reflect a commitment to environmental consciousness and product longevity. The collection is available in two distinct color palettes, each featuring 18 primary colors with either a muted (beige/grey) or a saturated (blue/green) undertone. This duality offers design flexibility, enabling the carpets to adapt to various spaces and contexts while maintaining a cohesive look within the collection. This thoughtful approach to color and undertone allows designers to achieve diverse atmospheric effects with a consistent product line. MATTER represents a significant advancement in design, redefining the concept of craft by integrating binary code, digital pixels, and physical threads into a new design methodology. This approach celebrates both precision and imperfection, weaving unpredictability, material honesty, and intentional design into a product that naturally resists obsolescence. The inherent uniqueness of each carpet ensures that it evolves over time and cannot be perfectly replicated, offering a fresh perspective on interior textiles. The successful development of MATTER highlights the importance of interdisciplinary collaboration. The fusion of Snøhetta's architectural expertise and Ege Carpets' specialized knowledge in textile manufacturing was crucial for realizing this innovation. Such cross-disciplinary partnerships are often catalysts for groundbreaking designs and disruptive ideas, pushing existing boundaries and challenging conventional systems within the industry. Tenna Knak, Director of Product and Marketing at Ege Carpets, notes that these collaborations inspire curiosity and ambition in new design development, leading to valuable knowledge and unique products like MATTER. The project demonstrates the potential when craft and technology converge, establishing a new design philosophy that embraces unpredictability as a source of beauty and innovation. #TextileDesign #AlgorithmicDesign #DigitalCraft #SustainableDesign #CarpetCollection #Snøhetta #EgeCarpets #InnovativeMaterials #CircularDesign

The article presents an interview between Joy Moyler and Esha Ahmed, focusing on Ahmed’s journey into textile design and the philosophy behind her brand, Makrosha. Esha Ahmed, born in Bangladesh and raised in New York, recounts her early introduction to textiles through her mother’s extensive sari collection in Jackson Heights. These early experiences, including playfully repurposing saris into costumes, sparked her interest in fabrics and fashion. Ahmed's formal education at the Fashion Institute of Technology, where she studied fashion design and later costume preservation and textiles for her master’s, further solidified her passion. Her initial career involved managing designer Peter Marino's extensive textile collection, an experience that broadened her understanding of textiles within interior design, covering commercial, residential, and hospitality projects. This role provided insight into both the creation and application of textiles, exposing her to numerous vendors and artisans. Following her tenure with Marino, Ahmed launched Makrosha, a business specializing in fabric, rugs, and throw pillows. A core mission for Makrosha is to preserve and support vanishing traditional weaving arts globally, ensuring the survival of high-quality, handcrafted textiles. Ahmed collaborates with weavers worldwide, each contributing unique methods and aesthetics to her designs. She also partners with designers for custom textiles and represents Aïssa Dione Tissus, a Senegalese master weaver known for handwoven fabrics. Ahmed draws inspiration from historical fashion design, particularly medieval styles, and shares an affinity for late 18th-century Europe and medieval Spain, periods known for their ornate, colorful, and detailed designs that resulted from cultural fusions. She acknowledges the historical influence of the fashion industry on luxury home textiles, observing how trends from designers like Dries Van Noten often translate into the home market. However, Ahmed expresses concerns about the modern culture of disposability and emphasizes the importance of sustainability and longevity in design. She advocates for investing in high-quality items, such as hand-knotted rugs that can take months to create, intending for them to last generations rather than being treated as disposable goods. Her design process involves starting with inspirations from her antique collection, developing renderings with mills, and collaborating closely with individual makers across different cultures, such as those in Laos, Nepal, and England, to ensure the essence of craftsmanship is maintained. Ahmed stresses that true quality and craftsmanship come from this collaborative, hands-on approach. The conversation highlights the critical need to protect traditional weaving practices from extinction due to increasing mechanization, underscoring Makrosha's role in keeping these artisanal skills alive. #TextileDesign #GlobalWeaving #EshaAhmed #Makrosha #InteriorDesign #SustainableDesign #ArtisanalCraftsmanship #FashionHistory #HomeDecor

Margo Selby, a celebrated designer-weaver, has been at the forefront of innovative textile design for over a decade, distinguishing her work through the creation of colourful, three-dimensional fabrics that form the core of her vibrant cushions, throws, rugs, and various home accessories. Her signature style, characterized by strong graphics and intricate patterns, originates from her Kent studio, where she utilizes a 24-shaft dobby loom to develop her unique hand-woven textiles before they are put into production by specialized mills. Selby's artistic journey is deeply rooted in her family's tradition of textile craftsmanship, with her grandmother, Edith Selby, having taught her crocheting and cross-stitching. This early exposure to textile arts naturally led her to pursue a focus on textiles during her foundation studies at Chelsea College of Arts, where she also explored graphic design, sculpture, and three-dimensional design. Her formal education continued with an MA in woven textiles from the Royal College of Art, followed by a fellowship at The Ann Sutton Foundation. During her fellowship, Selby engaged in projects that included developing products for Shetland wool and designing dobby fabrics for the interiors fabric industry in Yorkshire, establishing her initial connections with industrial mills. It was through these experiences that Selby began to bridge her hand-woven concepts with industrial manufacturing processes, leading to the development of her brand's hallmark silk and Lycra fabrics. The inspiration for her innovative three-dimensional fabric concept stemmed from her fascination with surface and texture, particularly the desire to emulate the tactile quality of bubble wrap packaging using silk. This pursuit involved extensive research into different fibers that would shrink when exposed to heat, which she then wove in combination with silk to achieve the desired three-dimensional surfaces. Selby's design philosophy is intrinsically linked to the art of weaving, which serves as the primary source of inspiration for all her creations. Beyond her personal handloom work, she actively explores global trends in woven textiles, drawing stimulation from highly decorative designs rich in pattern and color. Recent collections reflect an appreciation for indigenous and tribal fabrics, including techniques such as Japanese dyeing and African prints. The design process for her fabrics begins with the careful planning of the warp, which forms the structural backbone of the fabric on the loom, allowing for experimentation with different structures and weft yarns until a satisfactory product is achieved. This methodical and contemplative approach allows the fabric to evolve one row at a time, providing ample opportunity for design refinement. Once a fabric design is perfected through numerous developmental warps, Selby explores its potential for industrial production, collaborating with mills. For her flooring collection, her woven patterns were adapted into carpet constructions, manufactured in the UK. Operating from an open-plan studio in Whitstable, Selby immerses herself in a creative environment filled with materials, yarns, and inspiring imagery. Her daily routine involves addressing emails and collaborating with her team before dedicating the majority of her day to weaving at her loom. Her collaborations extend to companies like Alternative Flooring, for which she developed wool carpet and runner designs inspired by her deflected double-weave hand-woven cloths. Selby sources yarns globally, with Japan and the US being notable for their vibrant hand-weaving communities, and emphasizes selecting the most skilled weavers for specific material types. The business, which began in her bedroom, has expanded significantly to a bustling textile studio employing eight full-time staff and additional piece workers in Whitstable, focusing on bespoke textiles for a diverse range of applications. The handloom and the traditional craft of weaving remain central to all her products. The current re-emergence of carpet and color in fashion presents an exciting opportunity for her designs, particularly the translation of soft silk and wool fabric designs into large-scale, recolored flooring options. Selby's future plans include developing interiors fabrics for sale by the meter and expanding her accessories range to include bedlinen and towels. #TextileDesign #MargoSelby #WovenTextiles #HandloomWeaving #ThreeDimensionalFabrics #InteriorDesign #HomeAccessories #Craftsmanship #IndustrialCollaboration

The article explores the resurgence of intricate floral block prints as a prominent design trend, positing them as the successor to the recent checkerboard pattern phenomenon. Block printing, an ancient technique originating in China and later adopted by Indian artisans, involves hand-carved embossed wood dipped in dyes and repeatedly pressed onto fabric or paper. Despite its thousands of years of history, contemporary designers and brands are revitalizing this craft with a modern twist. Several factors contribute to this renewed popularity. Poonam Abbi, co-founder of Sustainable Threads, a fair-trade social enterprise specializing in block-printed pieces, attributes the uptick in sales to the pattern’s imperfect, handmade nature. She suggests that the pandemic encouraged introspection, leading consumers to value the origins, craftsmanship, and ethical implications of their purchases. Sustainable Threads collaborates with traditional artisans and marginalized individuals, further imbuing its products with a narrative of social impact. Sarah Zellweger of SZ Block Prints, whose brand has grown significantly, echoes this sentiment, emphasizing the luxury of handcrafted products and the discernible effort invested in them. Zellweger highlights the versatility of block printing, noting its ability to blend classic and contemporary designs through the mixing and matching of heritage prints with new interpretations. Her brand's reversible blankets and strategic color combinations exemplify how traditional techniques can be adapted for modern aesthetics, integrating seamlessly into various home decor styles, from traditional to minimalist. The aesthetic appeal of block prints is further amplified by their adaptability. Sustainable Threads, for instance, is recognized for its geometric patterns and neutral colors, offering modern takes on classic artisan designs that complement diverse home furnishings. Another contributing factor to the trend's momentum is the influence of social media. Katharine Watson, who established her block-printing studio in 2009, observes a shift towards maximalism online. She notes that after a period dominated by neutrals and simple designs, there is a growing desire among consumers for bolder patterns and vibrant colors, a demand that block prints are well-positioned to meet. The article also features several examples of how block prints are being incorporated into home decor, showcasing products like block-printed napkins, tablecloths, throws, quilts, and pillows. These items illustrate the wide application of the pattern in various domestic settings, reinforcing its growing presence in interior design. #BlockPrints #HomeDecor #InteriorDesign #PatternTrends #HandmadeCrafts #SustainableDesign #TextileArt #GlobalInfluence

This article explores the growing trend of utilizing textiles and rugs as wall art in interior spaces, moving beyond their traditional floor-bound roles. The increasing demand for warmth, texture, and unique decorative elements in homes and commercial settings has led to a re-evaluation of textiles' aesthetic and functional potential. Designers and homeowners are becoming more open to incorporating fabric-based pieces, such as wall hangings, art rugs, and woven structures, to enrich interiors. Several factors contribute to this resurgence. Historically, textiles like tapestries have adorned grand interiors for centuries, offering both aesthetic beauty and practical benefits. Modern interpretations build on this legacy, with contemporary textile artists gaining international recognition. For instance, American fiber artist Sheila Hicks has significantly influenced the art world, while Danish weaver Grethe Sørensen and Finnish designer Kustaa Saksi have garnered acclaim for their digital tapestries and vibrant wall hangings, respectively. These artists demonstrate the evolving artistic scope and appeal of textile art. The shift is also fueled by a broader appreciation for handmade goods and craft. Artists like Milla Novo and Windy Chien create macramé-esque wall art using rope, presenting a modern, sophisticated alternative to traditional framed art. Portuguese textile artist Vanessa Barragão's work, which often highlights environmental themes like the plight of coral reefs, connects deeply with clients seeking meaningful and visually compelling pieces for their homes. This artisanal approach adds a unique, personal touch that mass-produced decorations often lack. Furthermore, interior design trends have emphasized 'global' aesthetics and diverse 'textures,' encouraging the incorporation of rugs and textiles with traditional patterns and designs. Designers are creatively layering antique kilims with cushions and ethnic poufs, as seen in Cynthia Spence's work for the San Francisco Decorator Showcase. The redevelopment of London's BBC TV Centre, featuring dhurries and wall hangings by Vanderhurd in communal areas, further exemplifies this trend in contemporary residential and commercial projects. Beyond mere decoration, textiles are increasingly used to define and soften architectural spaces. Samira Boon's woven 'Archi Folds' structures, Hey-Sign's felt 'Flow' room division systems, and Studiopepe's wall hangings by cc-tapis all showcase textiles' capacity to influence spatial dynamics and acoustics. Finnish design duo Kivistö Leppisaari's 'Knit Divisions' exemplify this, creating spatial dividers from knitted fabrics and wooden frames. This integration highlights the functional versatility of textiles in modern interior design. The prevalence of this trend is evident on social media platforms like Instagram, where contemporary interiors frequently feature Beni Ourain or other tribal vintage rugs displayed on walls rather than floors. This signifies a return to older traditions, particularly in countries like Finland, where hanging rugs on walls has historical roots. Additionally, art rugs, such as those from Gothenburg’s Henzel Studio, designed by international artists like Jack Pierson or Tom of Finland, are increasingly chosen as wall-mounted artworks. Trend forecaster Lidewij Edelkoort's prediction that "Textiles will govern the century" underscores the growing importance of textiles in shaping our environments, offering comfort, decoration, art, and storytelling. #TextileArt #WallDecor #InteriorDesignTrends #HandmadeTextiles #FiberArt #HomeDecoration #ArtRugs #ContemporaryDesign #ArchitecturalTextiles

This article explores a selection of new fabric launches designed to enhance home interior schemes. The right fabric, whether patterned or plain, can significantly influence the aesthetic of a room. The piece highlights eight distinct collections and designers, each bringing a unique approach to textile design. First, Haines, an online platform for salvaged fabrics, has collaborated with Gabby Deeming of Daydress to create a limited-edition collection. This collection features surplus textiles repurposed into fabrics and soft furnishings, characterized by pretty, ditsy floral patterns in fresh colorways, emphasizing sustainability and unique design. Next, London-based textile designer Beki Bright presents a range of hand screen-printed fabrics, cushions, lampshades, and wallpapers. Her designs draw inspiration from the English countryside of Suffolk, utilizing a signature palette of muted blues, pinks, soft peaches, and mustard yellows, reflecting a natural and serene aesthetic. Beata Heuman introduces a 'Jumbo Gingham' print, which pays tribute to traditional 18th-century Swedish checked textiles. This fabric offers a modest yet playful element, aiming to impart a homey feel to any interior without overwhelming the space. Sophia Frances showcases fabrics that blend traditional British textile heritage with contemporary twists. Her collection includes bold zigzags, painterly florals, large-scale stripes, subtle flowers, and delicate geometrical repeats, providing a versatile range for various design preferences. Zoe Glencross expands her style with the 'Aventura Collection,' inspired by her travels to Mallorca, Seville, Lisbon, and Porto. This collection incorporates Moorish mudejar and Portuguese azulejo patterning, with an earthy color palette of warm terracotta, pinky-beige tones, rich ochres, vibrant apple greens, and coastal blues, bringing a worldly and colorful dimension to interiors. Blithfield, known for its color-driven designs, launches the 'Bancroft Collection.' This collection combines historical references with a contemporary feel, featuring striking printed designs in signature colors. It includes new versions of Ikat Check, a printed stripe named Lambert, and two woven designs: the antique-inspired Jasper and the classic Bailey. Henry Prideaux, in collaboration with Christopher Farr, has re-imagined iconic designs from the Christopher Farr archives, including works by Michael Szell, Raoul Dufy, and Kit Kemp. The recolored fabrics are curated within a palette of terracotta and blue, aiming to infuse renewed sophistication and a modern quality into these classic prints. Finally, Susie Watson introduces 'Natasha,' an Uzbek-style fabric hand-printed on rustic linen. Inspired by the founder's travels, this heavyweight material is stonewashed to achieve a subtle, vintage effect. Available in 'Catkin,' 'Dusty Pink,' and 'Smokey Blue,' it is suitable for curtains and blinds, and can be accented with a pom-pom trim. The article also mentions Fermoie’s 'Circus' design, which features a repeating geometric pattern inspired by the movement of acrobats and jugglers. Fermoie emphasizes traditional printing methods on linen and cotton, using only natural pigments and colors. These launches collectively offer a wide array of choices for interior decorators, ranging from sustainable salvaged textiles and countryside-inspired prints to traditional patterns with contemporary twists and culturally rich designs, all aimed at enhancing the aesthetic and feel of a home. #FabricLaunches #InteriorDesign #HomeDecor #TextileDesign #PatternedFabrics #SustainableFabrics #DesignerFabrics #HomeTextiles #DecoratingTrends

The article discusses the launch of Weft, an innovative online platform aiming to revolutionize the woven fabrics industry. Developed by Brooks Hagan, an associate professor of textiles at RISD, and Steve Marschner, a computer science professor at Cornell, Weft provides direct access to manufacturing for custom woven fabric orders, starting from as low as three yards. This platform distinguishes itself from surface-printed fabric providers by focusing on true woven designs, offering a unique service in the market. The project received research support from the National Science Foundation and a Small Business Innovation Research grant, highlighting its technological and entrepreneurial significance. Weft empowers users to personalize their fabric designs by allowing them to select colors, weave structures, and quality parameters, as well as define repeat sizes. This level of customization is particularly beneficial for independent designers working on smaller-scale projects, enabling them to create unique textiles without the high minimum order quantities typically associated with custom manufacturing. Users of the Weft platform have the flexibility to upload their own designs or photographs, integrating personal artistic vision into their fabric creations. Alternatively, they can customize existing designs available on the site. Beyond custom design, Weft also features a curated selection of limited-edition textile designs created by various artists. The article names Stephanie Pender, Kevin Zucker, Julia Dault, John Caserta, and Julian Kreimer as some of the collaborating artists, emphasizing the platform's commitment to artistic diversity. Hagan explains that the selection of artists from diverse fields was a deliberate choice to demonstrate the software's accessibility and utility to a wide range of creative individuals, regardless of their background. This approach aims to democratize access to custom fabric production, making it available to more designers and artists. In addition to custom orders, Weft operates an online shop offering ready-made woven jacquard fabrics. These fabrics are manufactured in the U.S. and include open-source options, further promoting customization. The versatility of these fabrics makes them suitable for various applications, including upholstery, drapery, and apparel, catering to a broad spectrum of interior design and fashion needs. Weft ensures efficiency by fulfilling custom fabric orders through its network of partner mills, boasting a quick turnaround time of as little as three weeks. This rapid production cycle is a significant advantage for designers and businesses seeking timely delivery of specialized materials. #WovenFabrics #CustomDesign #TextileIndustry #RISDInnovation #DigitalLoom #ManufacturingAccess #IndependentDesigners #ArtisticCollaboration

This article celebrates Suzanne Tick's induction into the Interior Design Hall of Fame, highlighting her multifaceted career as a material innovator, textile designer, and artist. Tick's work is characterized by a forward-thinking approach, integrating sustainability, advanced technologies like 3D knitting, and concepts of transparency and digitalism into woven surfaces for commercial interiors. Her textile brand, Luum, for instance, launched its 'Fabric of Space' collection with patterns inspired by celestial phenomena, coincidentally aligning with the public release of images from the James Webb Space Telescope. Throughout her four-decade career, Tick has collaborated with prominent brands such as Tarkett, Tandus Centiva, 3form, and Skyline Design, creating a diverse range of products including upholstery, drapery fabrics, high-performance carpeting, broadloom, cement-tile, LVT flooring, and etched glass panels. Beyond her commercial endeavors, she maintains an active fine-art practice, producing tapestries and experimental handweavings for clients like the Gates Foundation and BlackRock. Before establishing her independent studio and Luum, Tick served as an in-house design lead for Knoll Textiles, Unika Vaev, and Brickel Associates. However, she values the autonomy and risk-taking opportunities afforded by her entrepreneurial path. This independence has enabled her to innovate, as seen in Luum's pioneering contract industry fabrics made from postconsumer-recycled biodegradable polyester and discarded garment waste. Her journey began in the early 1980s after earning textile design degrees, where she quickly sought to understand the entire production process, learning everything from fiber sourcing to pattern implementation, an experience that shaped her holistic approach. Sustainability has been a cornerstone of Tick's philosophy, encompassing raw material development, structural innovation, and manufacturing method revitalization. At Luum, the focus is on developing new fibers and constructions, resulting in distinct fabrics. Her handweavings also incorporate novel and salvaged materials, such as dry-cleaning hangers, shredded ledgers, and cut-up paint sample discards. Tick attributes her salvage mindset to her upbringing, influenced by her father's scrap-metal business and her mother's creative pursuits and Eastern philosophy interests. Meditation has also profoundly influenced Tick's creative process and studio culture. After a period of personal dissatisfaction, she embraced Vedic meditation seven years ago and now teaches it, crediting it with enhancing collective creativity and clarity within her design teams. This practice has also reinforced her commitment to social responsibility, leading to free weaving workshops and involvement with The Light Inside, an organization teaching meditation to prison inmates. Tick's dedication extends to environmental stewardship, evidenced by her role in creating Resolution, the first solution-dyed panel fabric for Knoll Textiles, and her studio's textile waste recycling efforts. Her work consistently pushes boundaries, merging technology, craft, and human ingenuity to promote circularity in design. #SuzanneTick #InteriorDesignHallOfFame #TextileDesign #MaterialInnovation #Sustainability #LuumTextiles #KnollTextiles #SkylineDesign #VedicMeditation #ArtInstallation

Echo Petersen, founder of E Lee Designs, has found a creative outlet for her artistic passion by creating a variety of home decor and kitchen items featuring unique swirled acrylic paint designs. Petersen's work, which includes handblown coasters, trivets, charcuterie boards, and holiday ornaments, will be showcased at the 605 Made Holiday Market in Sioux Falls. Her designs are characterized by their vibrant colors and intricate patterns, achieved through a technique of blowing acrylic paints with drinking straws onto surfaces like ceramic tiles, wooden cutting boards, and canvases. This method allows colors to remain separate and distinct without blending, resulting in visually striking pieces. Petersen's journey into this craft began after she retired from her career as a financial assistant. Inspired by a set of handblown coasters she encountered during a trip to Fort Collins, Colorado, she dedicated herself to learning and mastering the technique. This involved extensive research through online videos and significant experimentation to develop her own proprietary mix of acrylic artist paints. Her husband, Bryce, supports her endeavors by creating custom oak frames for her canvas pieces. Each item crafted by Petersen undergoes a meticulous, multi-stage process that spans approximately one week. After the initial paint application, the piece requires time to dry and for the paint to cure. Following this, Petersen prepares the item by sanding its back and carefully taping it before applying a resin layer, which then takes an additional three days to dry. This commitment to quality ensures the durability and longevity of her handmade products. E Lee Designs offers a range of items, from small porcelain tile coasters to larger six-inch porcelain trivets and various wooden cutting boards. A particularly popular item that frequently sells out is her bamboo charcuterie board, which features pullout drawers and includes small wooden utensils, all adorned with her signature handblown paint designs. Petersen prioritizes using high-quality materials to ensure customer satisfaction and product resilience. In her creative process, Petersen pays close attention to current interior design trends, specifically monitoring popular colors in furniture and granite countertops. This awareness guides her selection of hues, ensuring her designs complement contemporary home aesthetics. She also incorporates micro powder glitter into her paints to add a subtle shimmer to the finished pieces. Popular color palettes in her collection include gray-beige, purple, and various autumn colors, while her personal favorite combination involves navy blue, moss green, and gold. This will be E Lee Designs' first participation in the 605 Made Holiday Market, though Petersen has previously showcased her work at vendor shows across South Dakota in cities such as Brookings, Pierre, Aberdeen, and Yankton. The 605 Made Holiday Market, an event organized by Knotty Gnome Variety & Salvage, Sew Doggy Boutique, and SiouxFalls.Business, and sponsored by The First National Bank in Sioux Falls and Dakota Business Finance, will feature over 40 makers. It is scheduled for Saturday, December 7, from 10 a.m. to 4 p.m. at Cherapa Place in downtown Sioux Falls, with free admission for attendees. #E Lee Designs #HandmadeDecor #AcrylicPouring #HomeDecor #HolidayMarket #Craftsmanship #ArtisanProducts #SmallBusiness #SiouxFallsEvents

The project "Knowing the Ropes," initiated by designers Brynhildur Pálsdóttir, Þuriður Rós Sigurþórsdóttir, and Theresa Himmer, delves into the ubiquitous nature and varied applications of rope, challenging conventional perceptions of this utilitarian material. This artistic endeavor explores the cultural and structural significance of rope within a Scandinavian context, specifically focusing on its dual existence in interior design and maritime industries. The designers utilize two historical production facilities, Hampiðjan in Reykjavík, Iceland, and Aarhus Possementfabrik in Denmark, both established in the early 20th century and employing similar machinery. These facilities represent the divergent paths of rope production: one for marine use and the other for interior textiles. The core of the project lies in highlighting the unexpected aesthetic and functional intersections that arise when examining a material with such diverse applications. The genesis of "Knowing the Ropes" dates back to 2017. Over time, the project evolved from its initial conceptualization into a comprehensive body of work, culminating in a publication and an exhibition featuring objects and video installations. The initial exhibition was held at the Reykjavík Art Museum in 2021, showcasing the designers' innovative interpretations and creations. The artists further developed their project by presenting an evolved version at the Hallwyl Museum in Stockholm. This particular venue, a meticulously preserved Victorian home from the turn of the 20th century, provided a unique juxtaposition for the contemporary design pieces. The museum's ornate and traditional environment offered a striking contrast to the modern and unconventional objects crafted from rope, creating an unexpectedly modern aesthetic within a historical setting. The exhibition features a range of objects that reimagine the use of rope in everyday items and art installations. These pieces include floor lamps with rope-wrapped bodies and exposed light bulbs, demonstrating how rope can be integrated into lighting design to create a distinctive texture and form. Pedestals made entirely from rope showcase the material's structural capabilities and its potential as a sculptural element. A standing round mirror, framed and supported by intricate rope work, highlights the material's versatility in creating decorative and functional home furnishings. A modern three-legged table also utilizes rope in its construction, presenting it as a primary material rather than a mere accent. Additionally, arch-shaped shelving units, crafted with rope netting, illustrate innovative approaches to storage and display. Through these creations, Pálsdóttir, Sigurþórsdóttir, and Himmer prompt viewers to reconsider the inherent qualities of rope and its potential for artistic and design expression. The project not only celebrates the craftsmanship and heritage associated with rope making but also pushes the boundaries of how textiles can be perceived and utilized in contemporary design. The juxtaposition of modern designs with a historic setting further emphasizes the timeless appeal and adaptability of this fundamental material, inviting a deeper appreciation for the overlooked elements of our material world. #TextileArt #RopeDesign #ScandinavianDesign #MaterialExploration #ContemporaryArt #ExhibitionDesign #InteriorFurnishings #DesignInnovation

The article details an unexpected collaboration between interior designer Kerry Joyce and artist Marian McEvoy, sparked by a social media connection. Joyce, known for his interior design work, discovered McEvoy's intricate collages of natural elements on Instagram, specifically under the handle @gustthepoodle. Intrigued by her unique artistic style, Joyce researched McEvoy and learned about her prominent background as a former editor-in-chief of ELLE DECOR and House Beautiful, as well as an editor for Women’s Wear Daily and W. This discovery led to a personal visit to McEvoy's home and studio in Wappingers Falls, New York. During this visit, Joyce recognized the potential to translate McEvoy's distinct artistic vision into fabric designs. He expressed his admiration for her creative energy and his conviction that her designs would be ideal for textiles. The collaboration materialized into a collection featuring five black-and-white botanical watercolors by McEvoy, which were then printed onto linen in ten different colorways. The collection showcases various nature-inspired motifs, including dotted leaves, whimsical vines, and striped florals, all stemming from McEvoy's imaginative work. McEvoy shared her perspective on this new chapter in her career, attributing her refined sense of color, style, and quality to her extensive experience in the fashion industry, particularly her 17 years spent in Paris working with couturiers like Yves Saint Laurent. She expressed gratification at the current level of interest in her work, especially at 73 years old, and highlighted the positive experience of collaborating with someone who genuinely appreciates and acts upon her artistic contributions. The success of this initial collection has already paved the way for a second collaboration between Joyce and McEvoy, scheduled for 2022, underscoring the fruitful nature of their partnership. The story, originally published in the September 2021 issue of ELLE DECOR, exemplifies how digital connections can evolve into tangible and impactful creative endeavors within the design world. #FabricDesign #DesignCollaboration #InteriorDesign #MarianMcEvoy #KerryJoyce #SocialMediaInfluence #TextileArt #BotanicalPrints #ELLEDECOR

This article highlights various home decor and furniture pieces, emphasizing unique designs, craftsmanship, and the stories behind their creation. It features a reintroduction of the Lawrence Peabody chair from 1962, now custom-crafted in America from solid teak or wicker with high-density foam cushions and customizable fabric choices. Another piece is Shanan Campanaro's largest rug collection for Eskayel, inspired by Marrakech and the High Atlas Mountains. This collection includes the Kotoubia/Duomo rug, made from Merino wool and silk blend, hand-knotted with varied weave structures and pile heights. The article also presents a whimsical kitchen apron called 'Siberia' by Helen Wilson of Witch and Watchman, depicting a jungle of animals on a crimson Siberica leaf background, offering an eccentric take on chinoiserie. Pillows designed by Sigi Ahl are showcased, crafted from felt made from recycled clothing by Eileen Fisher, as part of Fisher's zero-waste initiative, which has seen over a million clothing items returned. Joana Aranha's Fingerprint Chaise Longue, made from Indian Acacia wood with an extra matte varnish and a linen-cotton blend upholstery, is also featured. Her pillows incorporate hand-sewn gold zippers and a trademark tassel with the 'flower of India' insignia, inspired by a red flower Aranha found in New Delhi. Adriana Hoyos' Rumba upholstered chair is described with its distinctive silhouette, pronounced curves, generous seat, and gold-finish metal studs on a wooden frame, combining comfort, craftsmanship, and design. The Francis desk, named after Hillary Petrie's father, is presented as a simple yet complex piece with intricate joinery, ideal for floating in a room. This custom version is crafted from natural Douglas fir with a clear water-based finish and saddle leather drawers, all made in Egg Collective's woodshop or in collaboration with New York City fabricators. Michael Wainwright's new artisanal dinnerware brand for Lenox, 'Crafted,' introduces the Pompeii collection, which features durable stoneware with charming blue-on-white patterns and gold accents, designed for playful layering and everyday use. The Margot Chest by Bruce Andrews is highlighted for its dazzling emerald green, piano-ribbed front, and silver leaf-covered solid maple base with contoured legs. Handcrafted in America, this piece measures 40 3/4 inches wide, 18 3/4 inches deep, and 44 inches tall from its 12-inch leg. Aoife Mullane's textiles feature foiling on fabric, drawing inspiration from sea glass and pebbles, incorporating glamorous metallic touches in bronze, copper, and silver. Michele Varian's lighting designs are noted for their use of solid, unplated metals like brass, copper, or steel, with sculptural Mala 'bead' pendants inspired by Constantin Brancusi and modern primitive design, which will naturally patina over time. Alexandra Petrache's HALFDROP textile collection, specifically the Layers Yellow pattern, is shown, inspired by antique Romanian rag rugs. This reinterpretation features bold, organically layered patterns in mustard yellow and complementary grays, with hand-drawn lines enhancing fluidity. These 20-inch pillows are made of 100 percent cotton. The Lake Shore Watercolor Console from John Strauss Furniture is presented as a piece of art, featuring a watercolor by Tracy Hiner digitally printed and applied as a veneer to the doors, protected by an acrylic coating. The console has a satin sheen navy lacquer finish, stainless steel legs, and touch-latch doors with adjustable shelves. Lastly, Stacy Kunstel's Chunky Captain Compass Table, designed with Michael Partenio, features a massive turned maple base painted in a glossy custom Benjamin Moore color, Blueberry Hill, and topped with a 48-inch white-honed Carrara marble. Maggie Cruz’s Alexandra Cane Bench, influenced by her Cuban heritage and Miami, showcases Art Deco styling in a coral dust finish with white-washed cane and optic white linen upholstery. #HomeDecor #FurnitureDesign #InteriorStyling #TextileDesign #ArtisanCraftsmanship #SustainableDesign #ModernPrimitiveDesign #ArtDeco

The article discusses the new Bedford Park collection from Morris & Co., a textile brand named after the influential British textile artist William Morris. The collection, spearheaded by lead designer Jessica Clayworth, aims to honor Morris's iconic Arts & Crafts designs while introducing a modern and unexpected twist through bold and supercharged color palettes. Clayworth's vision was to disrupt the market by reimagining classic patterns with punchy hues and dramatic color combinations, drawing inspiration from the psychedelic tones of the 1960s and '70s. The development process involved delving into the company's archives to select both well-known Morris bestsellers and lesser-known works by other significant Arts & Crafts designers. The goal was to bring attention to designs that had previously received less recognition and to highlight the contributions of artists like C.F.A. Voysey, Allan Francis Vigers, and J. H. Dearle, who were also impactful during the Arts & Crafts period. The Bedford Park collection features 15 wallpaper designs and 14 fabrics. Clayworth provides insights into several key patterns within the collection. For instance, the popular 'Pimpernel' pattern, originally characterized by soft, muted colors, has been reinterpreted with brighter, stronger colors such as Shamrock and Watermelon. This reinterpretation caters to customers seeking a more vibrant and audacious aesthetic. Another pattern, 'Spring Thicket,' which was Morris's last wallpaper design, has been updated from its original subtle peachy ground to striking bright blues, incorporating a lilac punch to modernize the colorway and enhance the floral and leaf motifs. The collection also introduces designs by C.F.A. Voysey, including 'The Savaric,' which features his signature bird motif. While Morris's designs are often described as structural, Voysey's style is noted for its naivete. The updated 'Savaric' maintains a gentle color palette, such as Garden Green, to align with Voysey's original vision while introducing his work to a broader audience. Voysey's 'Glade' and 'Laceflower' patterns are also part of the collection. 'Glade' stands out with its structural, stylized botanical design and Art Nouveau influence, offering a departure from some of the more elaborate patterns. 'Laceflower' reintroduces Voysey's characteristic birds, integrated within floral stems for a more dimensional effect compared to 'The Savaric.' Allan Francis Vigers' 'Campanula' design, with its dense field of vibrant flowers, is presented in a Sunburst colorway that closely honors the creator's initial vision, with colors slightly enhanced for impact. The wallpaper print for 'Campanula' also pays homage to the wooden printing blocks used during the Arts & Crafts era, reinforcing the collection's authentic origins. Many patterns in the Bedford Park collection are available in both fabric and wallpaper, allowing for maximalist decorating schemes. The collection is designed to evoke a sense of rebellion and statement-making, aiming to impress and inspire awe in observers. #MorrisAndCo #TextileDesign #ArtsAndCrafts #InteriorDesign #Wallpaper #Fabric #WilliamMorris #BedfordParkCollection #ColorCombinations