How One Designer's Abstract Artworks Inspired a Line of Textiles—and Her Own Home

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 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

In 1967, fiber artist Sheila Hicks collaborated with architect Warren Platner to design two linen-and-silk wall panels for the Ford Foundation headquarters in New York City. Platner was responsible for the interiors of the 12-story modernist landmark, designed by Kevin Roche John Dinkeloo and Associates. Hicks's original wall panels, which featured rosettes threaded around metal discs, suffered significant damage over the years due to an attempted fire retardation treatment in the 1980s, the abrasion from Eames executive chairs in the conference room, and cigarette smoke in the auditorium. Recognizing the historical and artistic importance of these pieces, Ford Foundation President Darren Walker, appointed in 2013, initiated their replacement. He commissioned Hicks to recreate the murals. Hicks accepted the project without an artist's fee, underscoring her commitment to the foundation and her artwork. The re-installation took place in August 2014, with Hicks overseeing the process. This reprisal of her work for the Ford Foundation coincided with a broader resurgence of interest in Hicks's art, marked by other large-scale public commissions, including a yearlong exhibition at the Palais de Tokyo in Paris, and a general renewal of appreciation for weaving as an art form. The modern tapestry was produced in smaller, modular sections by Enrico Martignoni, the chief installer, and project leader Dominique Pastor. This modular approach was adopted to facilitate easier replacement if any section were to be damaged in the future. Crucially, the new silk-blend threads will not undergo the same caustic chemical fire-proofing treatment that damaged the original works. Additionally, the new panels are more cost-effective, utilizing a silk-blend thread and plastic discs in place of the original metal components. The article also touches upon the broader design elements of the Ford Foundation building. Warren Platner, known for his opulent modernist style, integrated bold metallics into his interiors, such as the gold-plated, floor-to-ceiling doors leading to the subterranean auditorium. The landscape designer Dan Kiley, celebrated for his work on projects like the Miller House and the St. Louis Arch, created the lush indoor urban garden within the Ford Foundation. Architects Kevin Roche and John Dinkeloo designed the headquarters with the employee in mind, reversing the traditional skyscraper layout to ensure every office had exterior views or overlooked the indoor park within the ten-story glass atrium. Skylights at the top of the atrium, framed in Cor-Ten steel, allow natural daylight to flood the space. Even the executive chairs, modified by Charles and Ray Eames, featured brown leather upholstery and brass accents to complement Platner's design, and notably, still included pull-out ashtrays. #SheilaHicks #FordFoundation #TextileArt #ModernistDesign #InteriorDesign #ArchitecturalRenovation #ArtInstallation #WarrenPlatner #KevinRocheJohnDinkeloo

The article introduces Inner Child, a home decor brand founded by Michelle Pham, which specializes in colorful, handmade, maximalist decor. The author, Tori Polizzotto Jones, shares her personal journey from a minimalist aesthetic to an appreciation for maximalism, influenced by sentimental family heirlooms. This shift in personal style led her to discover Inner Child, a brand that resonates with her newfound love for vibrant and expressive home furnishings. Michelle Pham, the founder of Inner Child, explains her inspiration for starting the brand. She observed a gap in the U.S. market for accessible, handmade textiles and crafts, which are often found only through extensive travel. Her aim was to bring these unique, artisanal items to a broader audience. Inner Child's products are distinguished by their 100% handmade nature, encompassing fabrics, patterns, and textures. The brand offers a variety of home linens, including blockprint tablecloths, napkins, placemats, and table runners. Additionally, Inner Child has developed a sustainable practice by creating recycled paper goods from leftover cotton textile production. The brand's name, 'Inner Child,' reflects Pham's philosophy that joyful and whimsical decor should not be outgrown. She notes that while adult tastes often lean towards muted, minimalist palettes, children instinctively gravitate towards color and experimentation. Inner Child seeks to reintroduce this playful approach into adult homes, encouraging consumers to embrace delightful and colorful items. The brand continuously innovates, transforming new design ideas into stitched realities quickly to meet consumer desires for vibrant home aesthetics. Among Inner Child's bestsellers are the Ocean Wave Waste Bin, made from hand-marbled and block-printed recycled cotton papers. This collapsible, sustainably made bin serves both as a waste receptacle and a chic storage solution. Another popular item is the Araminta Toiletry Bag, available individually or in sets of three. These bags are designed for functionality, featuring four inner pockets and a wipeable plastic liner, with fabric hand-block printed by an eighth-generation artisan team. The Purple & Blue Checkered Reversible Sujani Quilt is another standout, crafted by one of only two remaining families globally practicing the Sujani weaving technique. These cotton-filled quilts take over 16 hours to handloom and offer a unique 'puff pillow' effect. Pham's inspiration stems from her childhood experiences, including reading extensively about crafts and textiles, and traveling widely in her twenties, which exposed her to diverse crafts and ways of living. Her mother, a talented seamstress, also instilled in her a deep appreciation for colors, patterns, and fabrics from an early age. Living in New York City further provides daily inspiration from fashion and people's choices. Pham also sheds light on the realities of running a small business with handmade products. She single-handedly manages all aspects of Inner Child, from design and production to warehousing, shipping, and marketing. This hands-on approach has given her comprehensive mastery over her business operations, from recognizing ideal shipping boxes to understanding fabric compositions and maintaining daily communication with artisans. Despite the immense workload, she finds the work highly rewarding, emphasizing that it is a constant, demanding endeavor rather than a typical nine-to-five job. The brand's core message is to promote the accessibility of handmade items and to encourage adults to embrace joyful and whimsical home decor that allows for self-expression and happiness, regardless of age. #HomeDecor #MaximalistStyle #HandmadeProducts #SmallBusiness #MichellePham #InnerChild #TextileArt #SustainableDesign #Entrepreneurship

Martyn Thompson, a New York-based artist and the creative force behind Martyn Thompson Studio, has discovered an innovative approach to repurpose discarded materials, transforming his used drop-cloths and rags into a collection of woven tapestries and fabrics. This initiative, aptly named ‘The Accidental Expressionist,’ debuted at The Future Perfect in New York. The collection is notable for its jacquard-woven textiles and murals, which reimagine the incidental marks and stains left by the artist during his previous projects. Instead of being mere by-products, these elements are elevated and given new significance, becoming the central focus of the final artworks. The essence of ‘The Accidental Expressionist’ lies in its celebration of often-overlooked details and the expressive traces of the artist's creative process. Each piece in the collection encourages viewers to engage in close examination, revealing layers of colors and stains that coalesce into Pollack-esque splatters. Thompson meticulously collects and photographs these incidental marks, transforming them from discarded elements into purposeful components of his art. This process not only breathes new life into otherwise waste materials but also redefines their aesthetic and conceptual value within a fine art context. At The Future Perfect’s showroom, the versatile applications of this collection were showcased, demonstrating how these unique fabrics can serve as upholstery for furniture, be crafted into pillows, and even form bespoke lampshades. A standout example is the 'Quarry' lamp, a collaborative effort between Thompson and artist Dove Drury Hornbuckle. Hornbuckle hand-crafts the lamp's structure, which resembles stacks of ceramic shards, while Thompson’s studio provides the distinctive bespoke shade, featuring the collection's unique textiles. The 'Quarry' lamp is also available in a cast bronze edition, offering a variety of patinas. ‘The Accidental Expressionist’ collection thus embodies a powerful narrative of transformation and artistic vision, converting what was once considered refuse into objects of beauty and design. It highlights the potential for creativity to find inspiration and value in unexpected places, challenging conventional notions of artistic materials and processes. The collection offers a fresh perspective on sustainability in art and design, illustrating how an artist's personal history and working methods can be intimately woven into the fabric of their creations. The exhibition at The Future Perfect provided an immersive experience for visitors to witness the innovative use of these transformed materials in various interior applications, from large-scale murals to intricate lighting fixtures. #MartynThompsonStudio #AccidentalExpressionist #TextileArt #SustainableDesign #WovenTapestries #ArtisanCraftsmanship #InteriorTextiles #TheFuturePerfect #CollaborativeArt

Molly Mahon, a pattern designer, has transformed her English country cottage into a vibrant and highly personalized home, showcasing her unique block-printed designs throughout. The cottage, which dates back to the 1600s in its oldest parts, underwent significant renovations a decade ago, including moving the staircase to improve flow and lowering ceilings to accommodate her tall husband. During this period, Mahon and her family lived in tents in the garden for eight months, an experience she now humorously reflects on as a time of simplified living. Mahon's design philosophy centers on layering her own colorful fabrics and wall coverings, which she block-prints herself. She aimed to use her own creations, making the decorating process feel more intuitive. A prominent feature of her home's aesthetic is the extensive use of pink, specifically Farrow & Ball’s Pink Ground paint. Despite the cottage's forest location, which could make it feel dark, Mahon strategically applied pink in multiple rooms, noting its warm and comforting glow. She even admits that if she had her way, the entire house would be pink. Her home is filled with accumulated furniture and objects from previous residences. Mahon actively engages in DIY projects, such as creating needlework cushions backed with fabrics from her studio. The fireplace mantel is adorned with paintwork inspired by the nearby Charleston estate, a historical gathering place for the Bloomsbury Group. In the kitchen, plain shelves are given an inexpensive yet distinctive touch with block-printed paper edges cut into scallops, demonstrating her resourcefulness with scrap materials. The unstructured "skirt" lampshades found throughout the house are another example of her DIY approach, a design she loved so much that she began selling them. Mahon challenges the notion of craft being "granny-ish," emphasizing its transformative impact on her life. She also advocates for the use of bold patterns in tight spaces, such as hallways or staircases, to create a sense of depth and openness. Her own "ridiculously narrow" landing features oak leaf wallpaper, block-printed by her on-site, which effectively expands the visual space. The primary bedroom embodies a maximalist approach with clashing prints. Mahon, disliking white rooms, used a large swath of fabric behind the headboard as an alternative to a four-poster bed or framed artwork, providing a safe and stylish solution. Simple slatted-wood bedside tables with glass tops are strategically placed to incorporate more soft furnishings. The children's bedrooms, designed with her own upholstered fabrics, are intended to be timeless, accommodating their growth through teenage years. Guest accommodations are flexible, with Lani's room, for instance, featuring two movable single beds to facilitate sleepovers. Each room is designed to have its own character while remaining comfortable for anyone, aligning with Mahon's overarching aim of creating an inviting and personal living space. #HomeTour #TextileDesign #BlockPrinting #EnglishCottage #DIYHomeDecor #MaximalistDecor #PinkInteriors #PatternDesign

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

Dorothy Cosonas, creative director at KnollTextiles, is a significant figure in contemporary textile design, recognized for her ability to blend historical tradition with forward-thinking aesthetics. With seven of her designs, including four of her own creations, inducted into the Cooper Hewitt, Smithsonian Design Museum's permanent collection, Cosonas upholds Knoll's legacy of modern textiles for contemporary interiors. Her approach deviates from the rigid Modernist textiles historically associated with Knoll, incorporating deep colors, patterns, and ornaments. This nuanced aesthetic is a result of her extensive experience and unique design philosophy. Cosonas's career began after graduating from the Fashion Institute of Technology, where she honed her skills in fine arts and textile design. Mentored by Sina Pearson at Unika Vaev, she developed a keen understanding of the textile industry and a talent for modern design. She rose to Vice President of Design at Unika Vaev before joining KnollTextiles in 2005, taking the helm of the textile division established by design icon Florence Knoll Bassett. Her tenure at KnollTextiles is marked by a deep respect for the brand's heritage, as she currently delves into the company's archives in preparation for its 70th anniversary. She emphasizes the importance of maintaining Knoll's reputation for aesthetic, principle, and refinement, viewing her role as a continuation of a lineage of distinguished designers. Andrew Cogan, Knoll’s CEO, praises Cosonas for consistently setting the pace in the industry, highlighting the limitless opportunities for groundbreaking designs through new technologies, innovative weaves, architectural applications, and collaborations with guest designers. The competitive nature of the industry demands five to six new collections annually, and Cosonas meticulously oversees the 12- to 14-month development process. This includes extensive research, selecting appropriate mills, and multiple rounds of prototyping. Her challenge lies in creating designs that are current, slightly ahead of trends, yet timeless, ensuring they do not quickly become outdated. Fashion serves as Cosonas’s primary source of inspiration, evident from her office's pinup board adorned with photos, clippings, and swatches. She expertly translates motifs, textures, and details from high fashion, such as Chanel and Alexander McQueen, into textiles suitable for modern interiors. Matilda McQuaid of the Cooper Hewitt notes Cosonas's masterful ability to transform inspirations into original contract textiles, exemplified by her design "Topography," which, though inspired by Missoni, evolved into a unique interpretation resembling geological strata. This talent for hybrid design also extends to her collaborations with other designers, such as Irma Boom and David Adjaye, and high-end fashion designers like Proenza Schouler and Maria Cornejo, ensuring their visions are translated effectively into fabric. Cosonas's personal history also influences her work. For the 2016 Odyssey collection, she drew inspiration from her Greek heritage, modernizing embroidery motifs from her grandmother’s 1913 handwoven rug. This collection, featuring fabrics like Andissa, Vatera, and Yeni, alongside solid upholstery fabrics, represented a unique challenge in adapting traditional elements to a contemporary context. Her foresight in anticipating trends was affirmed when similar Old World–meets–modern embroidery themes appeared in fashion collections shortly after her line's development. Cosonas attributes her success to trusting her instincts and relentlessly pursuing the right design. Ultimately, the greatest reward for her is seeing Knoll's textiles integrated into real-world spaces, a testament to the chosen quality and design in a saturated market. #TextileDesign #KnollTextiles #DorothyCosonas #InteriorDesign #FashionInfluence #DesignInnovation #ModernDesign #Craftsmanship #DesignCollaboration

Textile designer Tigger Hall has curated her home in the NSW Southern Highlands as a reflection of her diverse life experiences, travels, and artistic sensibilities. The dwelling, originally a 1970s bungalow, underwent a transformative renovation to become a vibrant, layered space filled with collected treasures and custom designs. Hall's approach to home design emphasizes storytelling through objects and a harmonious blend of past and present. She integrates items gathered from around the world, such as zinc finials from Paris that now adorn her roofline, creating a sense of surprise and personal connection throughout the house. Her philosophy centers on imbuing her home with memories and connections to people and places, ensuring each piece contributes to the overall narrative. The renovation journey began in 2020 when Hall discovered the bungalow. Despite its initial modest state, the house resonated with her, particularly its spacious living area featuring a five-meter pitched ceiling with exposed beams, which reminded her of grand homes from her childhood in England and France. This architectural feature, along with the deep verandahs, evoked a sense of familiarity and provided an ideal setting for her love of entertaining with music and poetry. While the house possessed inherent charm, it required significant modifications to align with Hall's vision. She addressed practical issues such as the lack of direct garden access from the living area and the confined feeling of some rooms, all while maintaining the existing T-shaped floor plan. Key structural and aesthetic changes included repainting the living room's exposed beams white and installing salvaged round windows from Argentina to enhance natural light and draw the eye upward. An ornate limestone mantel was added, and the living room was extended with two balconies, complete with French doors and railings also sourced from Argentina, despite their initial state of disrepair. In the kitchen, Hall centered her design around a new Aga, valuing its traditional cooking method. Adjacent to the kitchen, a former laundry area was transformed into a library/snug, expanding onto the verandah. This cozy space features French doors from Paris, custom wallpaper designed by Hall, and 1880s parquetry flooring recycled from a Buenos Aires bank, chosen for its historical character and patina. Throughout the home, Hall's dedication to natural materials and sustainability is evident. She champions the reuse of salvaged materials, demonstrating how such items can be beautifully integrated into a contemporary living space. Her builders, Brendan Sheather and Michael Rudge, were instrumental in executing her vision, skillfully blending new and recycled elements. A notable addition is a lightwell with an oval detail in the ceiling of the hallway leading to the bedrooms, designed to introduce more natural light. The garage was converted into a studio with a coffered ceiling and panelling, serving as the workspace for her Nine Muses Textiles range, which draws inspiration from her global travels and mentors like Nina Campbell and Kit Kemp. This studio also serves as an in-situ showroom for her distinctive fabrics, which are interwoven throughout the interiors. Hall's textiles, characterized by a harmonious mix of colors and patterns, are a central element of her decor, proving that varied patterns can blend seamlessly if within a similar hue. Her favored colors, sea-glass blue and vibrant red, are prominent. The interiors are rich in texture, featuring curated furniture from previous homes, auction finds, travel souvenirs, heirlooms, and new pieces, all contributing to a tactile experience and a sense of history. Artworks, including those by her great-grandfather Lindsay Bernard Hall, adorn the walls, further personalizing the space. Despite the global influences, the home maintains a strong connection to its Southern Highlands location, evidenced by elements like the zinc finials standing out against the local gum trees. Hall also plans to host workshops on the property, sharing her passion for textiles and design with others. #TextileDesign #HomeRenovation #SouthernHighlands #InteriorDecorating #EclecticStyle #SalvagedMaterials #CustomWallpaper #ArtCollection #AustralianHomes

Mia Jung, the New York–based interiors director at Kligerman Architecture & Design, shares her current inspirations through a curated flat lay. Jung describes her aesthetic as gravitating towards textiles that are "soft, delicate and tranquil," favoring understated yet masterfully crafted pieces over more ostentatious designs. Her mood board, envisioned for a "dream bedroom," celebrates individual materials and their purposeful provenance, reflecting a "quiet beauty" derived from dedicated craftsmanship. The assemblage showcases a variety of artfully executed bespoke styles and handmade designs, encompassing items from hand-blown tinted glass light fixtures to multi-tonal embroideries. Jung emphasizes a feeling of happiness and appreciation when observing these pieces, noting the extensive skill and thought invested in their creation. The detailed breakdown of her selections highlights 14 distinct items, each chosen for its unique contribution to the overall serene and sophisticated mood. Among her selections is a bespoke rug by Sabina Fay Braxton, admired for its dreamy look and feel, and its complex yet simple composition. A hand-silvered Murano glass sample for a Cloud Console by Mia Jung at Charles Burnand Gallery is noted for its remarkable control and technique. For fabrics, she includes Key West linen in 2002 by Sette, valued for its humble, natural quality and versatility, and the soft, subtle hand-woven alpaca chenille DW-149 bespoke fabric by Mitchell Denburg, which adds richness to upholstery. Lauren Hwang New York's Khadi Jute fabric in Stone is chosen as a fundamental natural fabric, serving as a background for layering. Additional fabric choices include Byram fabric in Juniper by Colefax and Fowler at Cowtan & Tout, which provides saturation and texture without being overpowering, and a custom embroidery by Lesage Intérieurs, appreciated for its handmade quality and ability to add depth. Lighting is represented by Cherry Bomb Pendants in White and Olive Green samples by Lindsey Adelman, described as soft, pastel, and star-like. For furniture, a Yarrow Cabinet in dyed parchment by Roman Thomas is highlighted for its beautiful color and simple form, allowing the material to shine. Decorative elements include a Living World églomisé panel in Peonies sample by Confluent Studios, which Jung suggests using as an art piece within furniture, and a custom surface art sample by Studio HK, featuring an ash rose-colored ombre plaster ideal for stunning walls. Finally, for floor coverings and hardware, she selects a mohair curtain in a custom colorway by FJ Hakimian for its wonderful weave and color, a GK Series crystal door knob by E.R. Butler & Co. for its feminine and crisp jewelry-like touch, and a light blue mohair carpet by FJ Hakimian, valued for its beautiful color absorption and interesting variations. #InteriorDesign #HomeDecor #DesignInspiration #MaterialSelection #HandmadeDesigns #TextileArt #LuxuryInteriors #BespokeFurniture #Craftsmanship

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 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

Textiles, whether brought back from international travels or sourced from local designers, offer a unique way to introduce narrative and texture into home decor. Beyond their aesthetic appeal, textiles carry the stories of different times and places, making them cherished keepsakes. The article explores various methods for displaying these pieces, moving beyond common applications like pillows to highlight more creative and impactful design solutions. One effective approach is framing. Designer Christina Bryant, founder of St. Frank, advocates for framing textiles, particularly in acrylic box frames, which accentuate the handwork, three-dimensionality, and texture of the piece. This method also encourages sharing the textile's history and craftsmanship. An example showcases a framed scarf in a Houston living room designed by Meg Lonergan, demonstrating that not all textiles are raw fabric swatches. Another innovative use is transforming a textile into a headboard. Frances Merrill of Reath Design illustrates this by backing and upholstering an African textile with light padding, creating a comfortable and visually striking headboard. This method offers a distinctive alternative to traditional headboard designs, adding a personal and artistic touch to a bedroom. For those seeking a less permanent or upholstery-intensive solution, spreading a textile across the seat or back of a couch offers significant visual impact with minimal commitment. Textile designer Nathalie Farman-Farma of Décors Barbares, for instance, uses a vintage curtain to adorn her couch, achieving a dramatic effect without the need for professional upholstery. Similarly, Rebecca Atwood uses one of her original designs to enhance the back of a sofa, contributing to a calming room aesthetic. Smaller textile pieces can be repurposed into functional and decorative items such as poufs. Sally Breer of Co-Mingle Design utilizes kilims to create plush poufs, serving as additional seating and injecting color and pattern into a living room. Other small-scale upholstery projects mentioned include covering the seat of a chair, the front of a dresser, or the top of a bench. Textiles can also function as unique window treatments. Sally Breer suggests using vintage textiles for windows, especially those with unusual shapes or walls that need artistic enhancement, given their often-idiosyncratic sizes. This approach turns functional elements into decorative focal points, as seen in a stately living room with black and white Roman blinds. Finally, a simple yet impactful method is to hang textiles directly on the wall. British interior designer Abigail Ahern recommends draping a textile over a pole and mounting it, instantly transforming it into a piece of art. This technique, she explains, can make a space feel warm and cozy by elevating the textile to an artistic display. These diverse strategies allow textile enthusiasts to integrate their cherished pieces into their homes in creative and personalized ways, enhancing both the aesthetic and narrative of their living spaces. #TextileArt #HomeDecor #InteriorDesign #TextileDisplay #FramedTextiles #HeadboardDesign #FurnitureAccents #WindowTreatments #WallHangings

This article details the transformation of a raw, 4,300-square-foot apartment in Philadelphia into a tranquil sanctuary from the bustling city, envisioned by its owner, a media executive. Interior designer Alexii Friedman of Studio Friedman collaborated with Mark Sanderson and Harris Ford of the architectural firm DIGSAU to achieve this vision. The apartment, initially a blank canvas with only stud walls, offered a unique opportunity for a design deeply rooted in craftsmanship and local artisan collaboration. The design process began with a significant piece the owner had already acquired: a custom walnut dining table by George Nakashima Woodworkers, which celebrates the natural beauty of wood. This selection set the tone for the entire project, emphasizing quality materials and the work of skilled makers. The owner's request for a peaceful retreat from the vibrant urban environment, despite the building housing a busy restaurant on its ground floor, guided every design choice. Key to the apartment's aesthetic is the extensive use of local craftsmanship. Renowned blacksmith Warren Holzman was commissioned by the architects to create several custom elements, including blackened steel doors and exquisite bronze louvered shutters. These shutters not only add a touch of sophistication but also provide privacy for the nine-foot-high windows, which face the city. Holzman also fabricated the home bar in the living area and metal shelves in the entryway, contributing to the apartment's refined, art-gallery-like atmosphere. Travertine plinths display sculptures, further enhancing this curated feel. To address the apartment's limited natural light, with windows on only two facades, a wall of reeded glass was incorporated behind the entryway shelves. This design solution effectively draws natural light deeper into the home's core. The walls throughout the apartment are finished with textured lime plaster, a testament to exceptional local artistry. Mark Sanderson explains that these walls were treated not merely as surfaces for art, but as artful elements themselves, complementing the owner's Impressionist and contemporary art collection. The striking fireplace, designed to blur the line between sculpture and structure, also features this unique plaster finish, anchoring the public spaces. The kitchen, a central element of the home, was meticulously designed after consulting with a New York chef. Its innovative layout includes a change in floor height, allowing the monolithic quartzite island to serve as both a standard work surface and a dining-height table. Adjacent to the kitchen is the apartment's most distinctive feature: a loggia. This space is equipped with custom retractable windows that can be fully opened, blurring the lines between indoor and outdoor living and creating a seamless connection with the leafy square below. The design intentionally echoes the park's natural elements through choices like the grass-seated dining chairs and a branching chandelier in the dining room. The owner's existing art collection was reframed and integrated with new contemporary pieces sourced by Alexii, ensuring a harmonious dialogue between all artworks. The project's success is attributed to the strong collaborative spirit among the homeowner, designer, and architects, highlighting a meticulous attention to detail, even down to the decision to forego doorknobs in some areas. This collaborative approach resulted in a cohesive and personalized living space that perfectly embodies the owner's desire for a calm and reflective home within an urban setting. #InteriorDesign #LuxuryApartment #PhiladelphiaHomes #CustomCraftsmanship #ArtisanCollaboration #UrbanSanctuary #ModernLiving #ArchitecturalDesign

Amidst a surge in home sales and ongoing challenges in renovations, including material and labor shortages, and supply chain interruptions impacting appliance availability, homeowners seeking to refresh their living spaces face difficulties. Rather than waiting for large-scale renovations or delayed furniture deliveries, an alternative solution lies in smaller, impactful updates such as upholstery projects or wallpaper installations. This approach offers a quicker fix for revitalizing a tired space and supports independent, often women-owned, businesses based in the U.S. This article highlights five California-based independent designers specializing in home textiles and wallpaper. Leah O’Connell, an interior designer from San Francisco, draws inspiration from her childhood experiences exploring the gardens of the Filoli estate. Her collection features feminine florals on oyster linen or matte paper, characterized by a balance of delicate geometry and showy florals. The color palette is earthy with subtle blues, pinks, and soft greens, creating a timeless and unfussy traditional aesthetic. Brook Perdigon Textiles, based in Los Angeles, offers designs for those who prefer patterns beyond florals or seek to complement existing floral motifs. Perdigon's creative process begins with paints, sketches, and cut-paper graphic designs, with her earthy color palette influenced by the California landscape and her global travels. Her background in designing carpets for Tai Ping is evident in her work, which frequently incorporates strong linear patterns, diamonds, and re-imagined plaids. Teresa Grow, the creator of Madison and Grow in Ojai, is an interior designer and color consultant known for her expertise in selecting paint shades for various projects. Her textile line, Madison and Grow, features hand-drawn botanical prints and patterns inspired by her hikes through the Los Padres National Forest. Grow recently moved her operations to Ojai, leading to a new collection of custom pillows. Fabric and wallpaper, hand-screened in Los Angeles, are also available by the yard, reflecting inspirations from Sonoma and Morro Bay. Lake August, founded by Alexis Hartman in Los Angeles, showcases designs infused with the creative energy of Silver Lake. Hartman reinterprets classic floral and vine prints with a contemporary edge, utilizing hand-painted patterns of local plants like agaves, nasturtiums, and sunflowers. She also transforms whimsical bunny patterns into chic designs. Hartman offers customized colors, uses water-based inks on Belgian linen wallpaper from American mills powered by renewable energy, and contributes a portion of each sale to the Center for Biological Diversity. Schuyler Samperton, an interior designer from Los Angeles, offers a textile line that blends traditional Indian motifs with a Southern California sensibility. Her fabrics are designed to evoke the appearance of vintage finds from global markets, drawing inspiration from antique kimonos and suzanis collected during her travels. A Parsons graduate with East Coast roots, Samperton's work combines traditional elements with a relaxed, bohemian aesthetic, featuring patterns with vivid colors. #HomeTextiles #WallpaperDesign #IndieDesigners #HomeDecor #CaliforniaDesign #InteriorDesign #SustainableDesign #WomenOwnedBusiness

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