Traditional and True with Designer Meg Braff

Designer Meg Braff, known for her traditional Southern roots and fearless use of color, undertook a three-year renovation of a 1960s-era ranch in Locust Valley, Long Island. The goal was to transform it into a spacious two-story family home that felt like it had been built in the early 1930s, blending centuries of antiques with modern design. Braff, in collaboration with architect Laura Casale, intentionally crafted a home where colors engage in a lively dialogue from room to room, creating a cohesive and congenial atmosphere. The renovation journey began after Braff and her husband, Doug, decided they needed more space for their four sons. While the existing home lacked curb appeal compared to others in the neighborhood, its generous lot with mature trees and proximity to a golf course for their squash-playing sons made it an attractive prospect. The transformation did not significantly alter the footprint, though 15 feet were added to the front. Every room, except the library, underwent a complete overhaul. Braff emphasized replicating the library's original window and French door scale throughout the first floor and incorporating antique mantels from auctions. Raised ceilings were also used to enhance the home's sense of grandeur and age. A key design element is Braff's thoughtful use of color. The library's original panels were painted a vibrant chartreuse, a hue that also appears in the chinoiserie-inspired dining room, where apple green silk drapes complement grass cloth walls. Braff balances patterned wallpapers, such as her own French Blue damask in the corridor, with soft solids in adjacent rooms to provide visual breaks. Two rooms were combined to form a large formal living room, featuring multiple seating areas. Here, Braff prominently displays a monumental Coromandel screen and two chinoiserie panels, which she acquired a decade earlier. These panels dictated the entire house's color palette, incorporating beautiful blues, corals, ivories, and greens, resulting in a rich yet airy feel. Braff often opts for Venetian plaster finishes over white walls to enhance natural light and allow gold details to shine, incorporating her favorite elements like porcelain, Asian influences, and French and English furniture. Beyond her sophisticated blend of antiques and bespoke details, the home also reflects the preferences of her sons, who contributed ideas for their bedroom colors. An upstairs family room serves as a media and video game hub, but the family often gathers around one of the home's four fireplaces during colder months. Braff notes that her sons, having grown up accompanying her to auctions and helping with design projects, appreciate the effort and artistry involved in creating a beautiful home, recognizing it as a core part of her identity. The article then details specific areas, including the Main Hall with its French armchairs and Louis XVI-style gilt mirror, the Media Room with its performance velvet sofa and rattan chandelier, and the Living Room showcasing a vintage sofa with Houlès fringe and a Karl Springer cocktail table. The Kitchen features Danby marble counters, a BlueStar range, Waterworks fixtures, and an aqua ceiling, while the Dining Room combines a Lulu DK table fabric with diverse antiques. The Breakfast Room delights with a Bernard Thorp botanical-print linen and trellis wallpaper, and the Butler's Pantry is adorned in a peacock blue. Finally, the Primary Bedroom boasts a Schumacher peacock wallcovering, creating a colorful canopy effect. #HomeDesign #InteriorDesign #MegBraff #LongIslandHome #ColorPalette #AntiqueDecor #RenovationProject #TraditionalSouthernRoots #Chinoiserie

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

In an increasingly commoditized market flooded with generic products, establishing a unique brand identity and achieving customer recognition is paramount for designers. Textile designer Beatrice Larkin has successfully cultivated a signature style in her woven textiles, accessories, and interior products, making her designs instantly recognizable through their distinctive blurred edges and broken geometrics. Her creative process begins with hand-drawn sketches, where the initial marks, intricate patterns, and blotches made with pen and ink are deliberately preserved and celebrated in the finished fabric. This artistic approach ensures a consistent aesthetic across all her woven creations. The production of Larkin's textiles involves a collaborative effort with skilled manufacturers in the north of England. She works with a Jacquard mill in Lancashire to produce small runs of her woven designs, which are then washed and finished in the Yorkshire Dales. The process begins in her Margate studio, where she engages in extensive mark-making with inks, envisioning the final product's scale and application. These initial designs are then refined using Photoshop to determine fabric repeats and optimal sizing. Currently, her collection features two primary materials: fine Merino wool, typically used for throws, cushions, and accessories, and recycled cotton, a more robust option suitable for cushions, upholstery, and curtains. The Merino wool, known for its softness, is sourced from spinners in Italy. Similarly, the recycled cotton collection utilizes rejected fabrics from the clothing industry, which are re-spun and repurposed, also originating from Italian spinners. These yarns are then sent to the Lancashire mill for weaving, brushing, and washing before being returned to Larkin. The final products are then sewn either in her studio or by local Margate makers, though fabric is also available for purchase by the meter. This meticulous production chain underscores her commitment to quality and sustainable practices. Beatrice Larkin's entrepreneurial journey recently received significant recognition with the Start Up Award as part of the Women’s Launch Lab Incubator 2024. As one of ten female entrepreneurs selected from hundreds of applicants, she participated in an intensive three-day program. This program provided access to expertise from innovative female entrepreneurs, growth and marketing strategists, and public-speaking coaches. The experience culminated in pitching her business to venture capitalists and angel investors, including notable figures such as Alison Cork MBE, Akshata Murty, and Judy Naake MBE. Larkin emphasized that this experience offered valuable perspective and a significant confidence boost. Her business was founded in 2013, immediately following her Master's degree from the Royal College of Art, where her final collection garnered interest from prominent buyers like Heal’s. After graduating, she sought a British mill capable of producing her designs at scale. In 2015, Daylesford Organic provided funding for her initial fabric run, which was woven in the Cotswolds and Yorkshire. This collection was sold at Daylesford and served as a crucial launchpad for future manufacturing endeavors. By spring 2017, she began selling at Heal’s and unveiled her first collection at Clerkenwell Design Week. Larkin's immersion in the fabrics industry was a natural progression, deeply influenced by her upbringing. Her father owned Gordon Larkin Fine Wallpaper & Fabric in Canterbury, and her mother was also a textile designer, ensuring a household constantly surrounded by fabrics. Childhood memories of accompanying her father to design shows in Chelsea Harbour and exploring fabric showrooms further solidified her connection to the industry. She attributes her entrepreneurial spirit and the ability to forge her own path to observing her parents' lifestyle as business owners. Three years ago, Larkin relocated to Margate, drawn by its vibrant creative community. Since then, she has expanded her client base, with local stockists including Turner Contemporary and Harbour & Tide. Her brand, Beatrice Larkin, has also been embraced by renowned establishments such as Made, Studio Ashby, Conran and Partners, Tate Modern, and Piglet in Bed. Her journey reflects a blend of inherited passion, formal education, strategic partnerships, and a clear vision for her brand's aesthetic and ethical production. #TextileDesign #BeatriceLarkin #MargateDesign #WovenTextiles #InteriorProducts #SustainableMaterials #BritishManufacturing #Entrepreneurship #WomenInBusiness

The modern farmhouse aesthetic, a popular interior design style, is often considered safe or even uninspiring by some, despite its sleek appearance. However, Meg Ryan's approach to this style in her home, designed with Santa Barbara-based Becker Studios, offers a fresh perspective by emphasizing strategic textures and curated accessories, breathing new life into a potentially monotonous look. Ryan's modern farmhouse living room distinguishes itself through a thoughtful selection of eclectic pieces. Instead of a minimalist or stark interpretation, she incorporates items that add depth and character. Examples include large terracotta vases, which provide an earthy and artisanal touch, and rattan storage baskets, which introduce natural textures and practical elegance. Additionally, decorative branches are used to create sculptural drama and visual interest on surfaces, moving beyond simple ornamentation to become focal points within the space. These accessories collectively contribute to a layered and dynamic environment that feels both designed and lived-in. Interior designers Lesley Taylor and Claire Garner support this approach, highlighting the inherent versatility and warmth of the modern farmhouse trend. Taylor, founder of The Baked Tile Company, emphasizes that the style should prioritize liveability, blending rustic details with contemporary edges to create spaces that are inviting and comfortable. This perspective suggests that the success of a modern farmhouse design lies not just in its adherence to a specific look, but in its ability to adapt and feel personal to the inhabitants. Claire Garner, founder and director of Claire Garner Design Studio, further elaborates on the appeal of rustic farmhouse interiors. She notes that the trend embraces natural textures, vintage or antique elements, and a layered aesthetic, fostering a grounded and inviting atmosphere. Garner believes this style resonates with a desire for thoughtful interiors that tell a story, offering a sense of nostalgia and a strong connection to nature while remaining relevant in contemporary design. This balance between old and new, and between simplicity and richness, is crucial to avoiding the perception of the style as uninspiring. To further enhance the modern farmhouse aesthetic beyond accessory choices, Garner suggests incorporating elements like lime-washed walls, rustic wooden beams, and reclaimed finishes. These structural and surface-level additions can create a more authentic and enduring connection to the style's roots, ensuring a timeless appeal. By focusing on these details, a modern farmhouse can move beyond a superficial trend to become a truly characterful and chic space. Ultimately, Meg Ryan's home serves as a blueprint for how to achieve a modern farmhouse style that is fresh, cozy, and deeply personal, defying the notion that the aesthetic must be uninspiring or overly conventional. #ModernFarmhouse #InteriorDesign #MegRyanHome #CelebrityStyle #HomeDecor #TexturalDesign #CuratedAccessories #RusticChic #LiveableDesign

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

Mina Abouzahra, a Dutch-Moroccan artist and designer, has curated an exhibition titled “The Soul of a Rug” to highlight the artistry and cultural significance of Amazigh (Berber) weaving traditions. The exhibition, on display at the Palais Bahia in Marrakech until June 30th, features a selection of weavings and tapestries from the weavers of Taznakht, alongside contemporary furniture and objects designed by Abouzahra, some of which incorporate vintage weavings as upholstery. The display also includes photographs, looms, and yarns, allowing visitors to engage with the tactile aspects of the craft. A virtual reality film further immerses viewers in the daily life of the women and the village of Taznakht. Abouzahra's journey to this project began with her exploration of Moroccan craftsmanship, initially through her work as a chef and food stylist. She later transitioned to furniture design, studying woodworking and cabinetry, and undertaking an internship in Essaouira where she discovered the rich textile heritage of Morocco. This led her to establish her own interior label, integrating vintage Moroccan textiles with contemporary furniture. She developed a profound understanding and appreciation for Berber rugs, recognizing them as repositories of stories and rituals unique to their communities, with distinct colors, sizes, and techniques influenced by local resources and traditions passed down through generations. This exhibition builds upon Abouzahra's previous work, including “One Square Meter Berber” in 2019, also held at the Palais Bahia. That exhibition aimed to draw attention to the financial disparity faced by weavers, who are often paid by the square meter, by displaying individual 1-square meter rugs alongside photographs of their creators. This initiative sought to humanize the craft and advocate for fair compensation. During this period, Abouzahra also facilitated a residency program in Taznakht for Dutch designers, fostering an exchange of creative ideas between them and the Amazigh weavers. Following the pandemic, Abouzahra spent several months living in Taznakht, deepening her connection to the community and their weaving practices. This immersive experience revealed the spiritual dimension of the craft, such as the ritual of smashing sugar on a new loom to imbue it with a "sweet soul" and covering it with a black cloth to ward off the evil eye. “The Soul of a Rug” is the culmination of over a decade of Abouzahra’s dedicated research and engagement with Berber weaving. The exhibition not only celebrates ancestral craft, cultural preservation, and female empowerment but also underscores the benefits of collaborative work and the shared connection fostered through community and creativity. After its run in Marrakech, the exhibition is scheduled to travel to Amsterdam, showing at Hotel Arena from August 22nd to September 21st, and at Glue, the Amsterdam Design Fair, from September 18th to 21st. #MinaAbouzahra #BerberRugs #TextileArt #MoroccanCraftsmanship #CulturalPreservation #FemaleEmpowerment #Exhibition #InteriorDesign #TaznakhtWeavers

Michelle Gage, creative director and founder of her eponymous Philadelphia-based firm, approaches each room as a blank canvas with the potential for rich, artful design, drawing inspiration from Renaissance paintings. Her firm’s work spans from jewel-toned and moody to bright and cheerful. Gage and her senior designer, Nicole Flynn Mullany, created a mood board reflecting this versatility with a spring-forward feel, incorporating materials frequently used in their projects. The collection features lush, durable velvets and a variety of motifs. Floral patterns appear in a metallic white wallcovering and a deep blue Liberty upholstery fabric. The mood board also includes playful elements like a leopard-print rug, teal-saturated vellum, and fruit-hued tile. Gage describes the theme as “our favorite things,” emphasizing how personal accents contribute to unique interiors. This is evident in quirky objects such as a vintage portrait photograph, an ornithological letter opener, and a matchbook from a Parisian restaurant. Gage's signature style is defined by velvet upholstery, whimsical wallpaper, and occasionally burl. Among the selections presented are a vintage shell dish filled with brooches, and the Elizabeth Tape in Blueberry by The Vale London, chosen for its jewelry-like beading. A walnut veneer in Lindsey by Made Goods is a firm staple, frequently incorporated into projects. Lacquered Teal Vellum by Julian Chichester is another recurring material. The Lady Kristina Rose Vintage Velvet Fabric in Lapis by Liberty of London at Fabricut is planned for a living room sofa, showcasing a bold pattern. A unique talon letter opener and Floriane Linen in Golden by Alice Sergeant Textiles, used for a pillow, add to the personalized feel. Pink Dahlia Ceramic Tile by Zia Tile offers vibrant color options, while the Dottie Rug in Yellows on Cream by Temple Studio brings a playful chartreuse pop. The Maria Wallpaper in Metallic White by Voutsa is highlighted as a long-sought-after element that Gage finally integrated into a project. A matchbook from La Fantaisie in Paris, a Brass Dachshund, and the Mufasa Woven Wilton in Bronze by Distinctive Carpets & Rugs—a leopard print—further personalize the collection. Anni Stripe Fabric in Rose by Imogen Heath features preferred berry tones. Breccia Capraia Marble by Artistic Tile is presented as a classic choice for a fireplace mantel, and Loire Bullion Fringe in Merlot by Samuel & Sons offers an unexpected color for a traditional detail. Finally, a black-and-white portrait reflects Gage's preference for art featuring strangers, and Snazzy Citron Velvet by CR Laine is noted for its durability and timelessness. #InteriorDesign #MichelleGage #MoodBoard #HomeDecor #Textiles #Wallcoverings #VintageFinds #ColorPalette #PatternMixing

Iris Apfel, who passed away on March 1 at the age of 102, was not only a centenarian style icon but also a significant trendsetter in the realm of decor long before her global celebrity status. Her decorating career began in the 1940s, and she quickly became a sought-after designer for prominent clients such as Greta Garbo, Estée Lauder, Faye Dunaway, and Joan Rivers. Apfel, alongside her late husband Carl, established Old World Weavers, a luxury fabric company. This company was instrumental in providing textiles to the White House for nine presidential administrations, from Harry Truman to Bill Clinton, showcasing the couple's profound impact on American interior design. Apfel held the belief that "Fashion and interior design are one and the same," a philosophy that underpinned her distinctive approach to both. Born in Queens in 1921, she developed an early passion for antiques and decorating, starting her extensive jewelry collection as a child by exploring antique shops in Greenwich Village. A pivotal moment in her early life was meeting the legendary decorator Elsie de Wolfe, an encounter that left a lasting impression on the young Apfel. After marrying Carl in 1948, the couple frequently traveled overseas to acquire unique furniture and fabrics for her design projects, initially sourcing rare antique fabrics from European flea markets. Recognizing a market for reproductions of historical designs, the Apfels founded Old World Weavers in 1950. In an era when modern aesthetics dominated New York's design scene, they carved a unique niche by offering richly traditional, "old-world" textiles. Their collection featured opulent silk brocades, lampas, geometric motifs, suzani and ikat patterns, and Japanesque styles, setting them apart from contemporary trends. Industry experts like Ann Pyne, president of McMillen Inc., noted that Old World Weavers possessed luxurious fabrics unmatched by competitors, especially their distinctive Gilded Age designs. A significant achievement for Old World Weavers was the immense popularity of their "Tiger" silk velvet in the 1960s—a bold, black-and-gold, 54-inch-wide pattern handwoven in Venice. Iris Apfel later repurposed this iconic fabric into a coat for the Peabody Essex Museum, which now houses a permanent collection of over 1,000 pieces of clothing and accessories belonging to her and her husband. Other textiles from Old World Weavers, including a gold silk damask, were used to drape the windows in the White House's East Room, underscoring their national significance. Old World Weavers was acquired by Stark in 1992 and now operates under the Scalamandré textile group. Ashley Stark, current creative director at Stark, interned with the Apfels, learning invaluable lessons about fearlessness and self-trust in design. Lorraine Lang, executive vice president of design for Scalamandré and Old World Weavers, recounted Apfel’s famous mantra: "more is more and less is a bore." This philosophy guided Apfel’s preference for unusual, bold, and smile-inducing patterns, shunning anything she considered boring. Iris Apfel's global fame escalated in 2005 when she became the subject of the "Rara Avis: Selections from the Iris Apfel Collection" exhibition at the Metropolitan Museum of Art's Costume Institute. This exhibition showcased her eclectic wardrobe, a high-low blend of designer pieces and plastic bangles. Already in her 80s, Apfel embraced her new role as an "accidental icon," starring in a 2014 documentary, acquiring a significant social media following, and even having a Barbie doll created in her likeness. Despite her newfound celebrity in fashion, her dedication to decor remained steadfast. She maintained homes in New York City and Palm Beach and launched various collections, including rugs for Ruggable and a "Maximal Couture" fabric line for Fabricut. Her homes were renowned for their maximalist aesthetic, characterized by "pattern on pattern on pattern," especially during Christmas, when every inch was adorned with ornaments and figurines. In 2017, at 96, Apfel introduced her first furniture line for HSN with Cloth & Company, a circus-themed collection featuring bold stripes and floral patterns with elephants and circus tents. She articulated her belief that "Decorating your home is a way to express your personal style." Despite her surprise at the extent of her later-life fame, she lived consistently by her unique vision, remaining a free spirit who profoundly influenced both fashion and interior design. #IrisApfel #InteriorDesign #FashionIcon #OldWorldWeavers #TextileDesign #DecorTrendsetter #MaximalistStyle #DesignPhilosophy #HomeDecor

Artist Stephanie Dillon and her husband, Reilly, were captivated by a model home in Eden Prairie, which boasted a blend of whitewashed shiplap and shakes on its exterior, creating a timeless and airy aesthetic. The interior featured light-filled communal spaces, each with a distinct character, moving away from conventional floorplans. The color scheme ranged from calming charcoals and pale neutrals to deep greens and rich terra-cotta, evoking a European atmosphere. Kelli Fontana Vogelgesang, owner of West Bay Homes and the designer behind the model, drew inspiration from her travels to Paris, characterizing the style as French contemporary farmhouse. She envisioned the kitchen as a French pastry shop, integrating multiple layers of meticulously detailed materials throughout the 5,000-square-foot residence. The kitchen's design incorporates three types of glazed tiles for the backsplashes, with a small hexagonal tile chosen for its light-reflecting properties, contributing to an elevated visual experience. Dillon, an acrylic and mixed-media artist known for painting her emotions, found a kindred spirit in Vogelgesang, whose design philosophy also prioritized passion and feeling. Dillon retained Vogelgesang to complete the interior design of their new home. The designer expressed enthusiasm for incorporating Dillon's extensive rug collection. Elements like shiplap and painted charcoal, seen on the exterior, were repeated inside on the basement's fireplace wall and the vaulted ceiling of a lounge area adjacent to the kitchen, along with charcoal-colored square tiles extending from counter to ceiling in the kitchen backsplash. This repetition of color ensures cohesiveness and a holistic progression throughout the home, where all environmental elements relate to one another. Vogelgesang skillfully managed the abundance of materials, preventing a busy or cluttered appearance, much like Dillon blends colors on her canvases. Some design choices stand out, others recede, and some shimmer, collectively defining the mood of each space. The materials coalesce into a balanced and proportionate composition, resulting in a home tailored for an artist. Vogelgesang aims to create spaces that are timeless and elegant without being overly delicate or cost-prohibitive. The lower-level bar area features charcoal shiplap around the fireplace, painted in Sherwin-Williams’s Dorian Gray, and steps down into a sunken media room, showcasing the designer’s preferred brass and gray combination. Brass hardware also adorns the front entry doors. Light fixtures, including those from Mitzi on the library ladder, were strategically chosen. The unexpected entry leads to a "dining hall" that functions as a grand foyer, as described by Vogelgesang. This space features nine-inch-wide-plank white oak floors laid in a herringbone pattern, with ceiling beams bisecting its soaring height, allowing ample natural light. The built-in bar features a backsplash of alternating light and dark neutral tiles, custom cabinetry with dental molding, and a marble sink skirt. Open shelving in the kitchen displays two sizes of backsplash tiles from The Tile Shop, with custom alder wood cabinetry finished with a clear whitewashed stain and brass hardware for an enhanced shimmer. The kitchen, inspired by Parisian pastry shops, includes two islands for ease of navigation, with only one housing a sink to allow for uninterrupted dining on the other. The mudroom boasts large-format heated tiles combined with white oak cabinetry, finished in a whitewash stain, offering an industrial concrete look harmonized with French country cabinetry. A basement guest bath incorporates vibrant color through whimsical floral tiles from The Tile Shop on one wall and Sherwin-Williams’s Perfect Periwinkle on the adjacent wall. The library features a bold mix of Sherwin-Williams paints: Canyon Clay on the walls and Gauntlet Gray in a high-gloss enamel finish on the moldings and doors, complemented by chartreuse chairs. A wide-plank whitewashed cedar wall on the rear deck provides privacy. The prep kitchen off the mudroom embraces color with Waverly Classics wallpaper by York, cabinets painted in Sherwin-Williams’s Green Onyx, and a hammered copper sink, showcasing how personal touches can enhance practical areas. The powder room dazzles with an antiqued mirrored glass tile wall from The Tile Shop, a custom white oak vanity with a marble shelf, and Savoy House sconces. The floors throughout the home incorporate patterned ceramic tiles from The Tile Shop. The home's floor plan, while a traditional rambler, diverges into an unconventional layout where the front entry opens into a vaulted foyer and dining room, serving as a pass-through to the kitchen and great room. #HomeStyle #InteriorDesign #HomeTours #FrenchContemporaryFarmhouse #CustomCabinetry #TileDesign #ArtisticHome #ArchitecturalDetails #EuropeanInfluence

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

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

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

Patricia McGinnis, a Belfast-based interior design consultant and co-founder of Maven, an interior and lifestyle boutique, provides five essential tips for making considered design decisions in home décor. Her advice aims to help individuals create spaces they will appreciate for years, avoiding reliance on fleeting trends. McGinnis emphasizes that the most engaging rooms feature a blend of elements that offer continuous visual interest through variations in shape, color, and texture. She encourages experimentation and playfulness in design, suggesting that vintage and contemporary pieces can coexist harmoniously to create a rich and layered aesthetic. An example from her own home illustrates this principle, featuring a mid-century dining table on an antique rug, surrounded by contemporary Scandinavian chairs and lit by a Japanese-inspired pendant lamp, demonstrating how diverse styles can be integrated effectively. A key recommendation from McGinnis is to avoid compromising on personal preferences, especially when it comes to color choices. She advises individuals to trust their instincts and choose colors they genuinely love, asserting that future regret is more likely to stem from not following one's heart than from bold color decisions. She also cautions against allowing tradespeople to dissuade homeowners from their chosen designs, sharing anecdotes of painters initially resistant to certain colors who ultimately grew to admire them. Furthermore, McGinnis stresses the importance of investing in quality pieces, particularly for items such as sofas, dining chairs, and tables, which are used frequently. She suggests saving for desired items rather than settling for less, as quality furniture is more durable and can become cherished heirlooms, a philosophy central to Maven's curated collection. McGinnis strongly advises against being overly influenced by social media trends. She warns that homes designed strictly according to current trends can quickly become dated and feel inauthentic or impersonal. While acknowledging the inevitability of some trend influence, she advocates for a balanced approach where trending elements are integrated with timeless pieces. This strategy aims to create an enduring aesthetic that reflects the homeowner's personality rather than merely mimicking popular online aesthetics. The goal is for a home to be a unique reflection of its occupants, rather than a generic replication of another's Instagram feed. Layering is presented as another crucial aspect of effective interior design, likened to a chef adding spices to a dish. McGinnis explains that layering multiple textures, tones, shapes, and colors, along with thoughtful lighting, adds depth and richness to a room. This approach elevates a space beyond its basic components, creating a more sophisticated and inviting atmosphere. Finally, McGinnis highlights the practical importance of meticulous measurement. When investing in significant furniture pieces, she advises measuring not only the intended space but also doorways and awkward corners to ensure the items can be successfully moved into the room. This practical tip helps prevent costly mistakes and ensures that carefully selected pieces can be properly installed and enjoyed in their new environment. #HomeDecor #InteriorDesign #DesignTips #PatriciaMcGinnis #MavenBelfast #TimelessDesign #PersonalStyle #LayeringInDesign #QualityFurniture

Creative agency Spacemen integrated biophilic design concepts into the flagship store for luxury leather manufacturer Braun Büffel in Malaysia, featuring a tree-like, moss-covered installation as its central focus. The objective was to create an interior appealing to a younger demographic, envisioning the store as an 'abstract oasis' within Putrajaya's IOI Mall, blurring the lines between an art museum and a laboratory. This unique approach aimed to establish a strong connection between nature and high-end fashion. The centerpiece of the store's design is a large, organically shaped sculpture suspended from an illuminated disc in the shop's center. This sculpture is adorned with preserved flat moss, ball moss, and lichen, creating a natural and visually engaging focal point. Directly beneath this hanging installation, a spherical table, similarly covered in moss and other preserved plants, serves as a display platform for Braun Büffel's leather bags. These bags are strategically arranged throughout the store, evoking the presentation style of museum artifacts, further enhancing the artistic and curated atmosphere. The inspiration for this dominant sculpture comes from biophilic design, a methodology that seeks to strengthen the human-nature connection within built environments. Edward Tan, founder of Spacemen, explained that the sculpture's form was designed to appear as if it is growing from the ground toward the ceiling, symbolizing growth and reaching for the sun. The envisioned aesthetic was an otherworldly concept, drawing parallels to a scene from a Hollywood sci-fi film, adding an element of fantastical innovation to the retail space. In developing the store's interior, Spacemen adopted a 'maximal minimalism' philosophy. This approach aimed to counteract the often-uninspired shapes and colors typically found in luxury retail spaces. The interior features lime plaster walls and bright white terrazzo flooring, providing a clean and contemporary backdrop. These elements are complemented by numerous intricately designed display cabinets and shelves, which are further enhanced by floor-to-ceiling mirrors, contributing to a sense of spaciousness and understated opulence. Further details of the store's luxurious design include cabinetry crafted from opulent slabs of swirling orange onyx and jade marble. Some of these marble surfaces are topped with glass vitrines, designed to showcase smaller leather goods, adding another layer of sophistication and attention to detail. This combination of natural elements, innovative design, and high-quality materials creates a distinctive shopping experience. Edward Tan elaborated on the decision to incorporate biophilic design, noting a societal shift in appreciation for nature, particularly post-pandemic. He observed that individuals residing in urban apartments or working in office cubicles often lack sufficient exposure to natural environments. Consequently, the integration of lush flora and garden-like elements into interior spaces has emerged as a new form of luxury. This recognition of nature's value within commercial design contributes to the project's overall success and resonance with contemporary consumer preferences. #BiophilicDesign #LuxuryRetail #InteriorDesign #FashionStore #MossInstallation #SpacemenStudio #BraunBuffel #MaximalMinimalism #SustainableDesign

This article delves into interior designer Marie Flanigan's distinctive approach to Thanksgiving decor, emphasizing a blend of warmth, intimacy, and sophisticated style. Flanigan's philosophy centers on creating spaces that are both beautiful and comfortable, ensuring memorable gatherings. She shares her curated selection of 12 items that embody her aesthetic for an elevated Thanksgiving celebration. Flanigan advocates for a natural and authentic decor, drawing inspiration from nature rather than traditional, sometimes kitschy, Thanksgiving motifs. She incorporates sculptural ceramics, organic textures in pottery, and serveware that functions as art. Her design preference includes dramatic branches and foraged greenery to add height and movement, grounding the indoor space with natural elements. Her color palette deviates from typical reds and oranges, favoring richer, more nuanced tones such as deep greens, warm caramels, and saturated burgundies, which she finds more refined and unexpected for the season. Beyond aesthetics, Flanigan emphasizes tactile comfort through thoughtful layering. She suggests incorporating fur-lined throws over armchairs and swapping out throw pillows for luxurious velvet or shearling options. These elements add depth, warmth, and a sensory experience to any room, encouraging guests to relax and linger. The article highlights Flanigan's expertise in creating an Instagram-worthy Thanksgiving table, showcased by a chic tablescape inspired by a tapestry. She advises using metallic touches, such as brushed gold flatware or burnished bronze vases, to beautifully catch the light and add a touch of polish. For place settings, she encourages mixing different finishes and textures, like matte ceramics with delicate colored glassware and soft linen napkins, to achieve a collected and effortless look. An often-overlooked aspect of atmosphere is scent, and Flanigan recommends introducing candlelight to create a soft, flickering glow. She suggests earthy scents like sandalwood, cypress, or amber to instantly set a warm and inviting tone for the home. The article concludes by reiterating Flanigan's belief that hosting is about fostering an environment where people desire to stay, making Thanksgiving an ideal occasion to celebrate ease and connection through thoughtful design. Her selected items reflect her appreciation for organic materials, craftsmanship, and the comfort of gathering, aiming to inspire readers to infuse a sense of luxury and warmth into their own holiday decor. #InteriorDesign #ThanksgivingDecor #MarieFlanigan #HomeDecor #HolidayStyling #SeasonalDecor #TableSetting #DesignTips #LuxuryHome

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

This article details the process of two "Next Wave" interior designers, Hilary Matt and Lilse McKenna, as they select materials for two distinct family room projects. The designers virtually shop through the Kravet and Lee Jofa/Brunschwig & Fils showrooms, demonstrating how they choose upholstery fabric, wallpapers, trim, and carpets to create specific aesthetics and functionalities for their clients' homes. Hilary Matt's project focuses on designing a family room for a young family, prioritizing durability and stain resistance. She opts for Kravet's performance chenille for a Jazz Sectional and durable gray woven-backed Bilbao armchairs. The chair legs are chosen in blond wood, offering a customizable element. To unify the space, Matt selects a neutral textured rug. For the walls, she introduces a soothing backdrop with Baturi wallpaper, featuring a slate blue watercolor pattern suitable for various family activities. The Adams Cocktail Table, a custom sculptural piece, provides ample surface area for drinks and enhances the room's aesthetic. Lilse McKenna's project centers on incorporating a treasured family-heirloom red paisley fabric into her living room design. She pairs this existing fabric with a printed Arley cotton-linen textile for a Brunschwig & Fils Jacob sofa, an English roll-arm, tight-back design. This choice emphasizes a European feel with a traditional botanical pattern in complementary blue and gray shades. For the table skirt, McKenna seeks a subtly bold finish and samples various contrasting colors of Brunschwig & Fils bullion fringe. Her selection for the rug is a cream Moroccan-style Tarsus with a graphic mossy green print, chosen for its playful texture that contrasts with the more traditional English and French fabrics. McKenna completes her design with a French-inspired Rayure Fleurette medallion and floral stripe by Brunschwig & Fils for side chairs, further enhancing the pattern-mixing theme around the fireplace. The article provides a glimpse into the designers' thought processes and material selections, allowing readers to understand and potentially replicate the looks in their own homes. #InteriorDesign #HomeDecor #DesignInspiration #MaterialSelection #Kravet #LeeJofa #BrunschwigFils #NextWaveDesigners #FamilyRoomDesign