Khalid Shafar’s Designs Have Stories to Tell

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

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

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

British artist Sophie Smallhorn, whose work explores the relationships between color, volume, and proportion, grew up immersed in a creative environment. Her parents were industrial and textile designers, and her Montessori education, with its use of brightly colored, precisely shaped wooden objects, fostered an early understanding of color, form, and dimension. This upbringing shaped her artistic approach, which is characterized by sophisticated geometric solids and a focus on color dynamics. Initially, Smallhorn pursued a degree in Wood, Metal, Ceramics, and Plastics at the University of Brighton, where she crafted sculptural furniture pieces that, despite their limited functionality, were primarily driven by color. She began creating assemblages from leftover materials for personal enjoyment, eventually selling them informally. Her acceptance of her work as fine art came only after a gallery explicitly presented it as sculpture, reflecting her background in design and making. Early career milestones included significant commissions from the avant-garde fashion brand Comme des Garçons, which provided opportunities for large-scale installations at its Tokyo flagship. These projects broadened her scope, leading to collaborations such as developing a 56-color palette for the London 2012 Olympic Stadium with Populous Architects, where exterior canvas banners in various hues marked spectator entrances. More recently, Smallhorn has ventured into textile design with Designtex, creating an upholstery pattern named Ribbon. This marks her first formal foray into textiles, a field her mother worked in, and one Smallhorn initially resisted due to her discomfort with digital design processes and the overwhelming possibilities of digital printing. However, a clear vision from Designtex's executive design director, Sara Balderi, during their renewed collaboration post-COVID, made the digital process manageable and even a revelation. The inspiration for the Ribbon motif originated from an enameled snuff box with an undulating ribbon, which Smallhorn encountered at the Victoria and Albert Museum. She developed the idea by physically manipulating collage and colored acetates, twisting and folding them, before translating these physical experiments into a digital layout for pattern repeat, palette, and scale. The initial design, which started smaller, evolved into a bold, graphic, and dynamic pattern with a theatrical quality, largely influenced by Designtex. The ribbon on the fabric is not solid but composed of parallel lines, a deliberate choice by Smallhorn to achieve an effect similar to screen printing, where overlapping transparent colors create a third hue, adding a playful and energizing graphic element. A solid version of this pattern, called Flat Ribbon, is available as a customizable wallcovering through Designtex’s Digital Studio website. Smallhorn notes a significant crossover between her two-dimensional prints and her three-dimensional sculptures and installations, as both involve compositions of hard-edged formal shapes. Screen printing serves as a rapid and playful method for developing ideas, allowing for serendipitous color scenarios that often inform her sculptural pieces. While her three-dimensional work does not allow for layering transparent colors, the print table mimics sketching, providing inspiration for new color combinations. She uses the same acrylic paint for both prints and assemblages, viewing the latter as vehicles for exploring and holding a palette. Smallhorn emphasizes the intuitive nature of her color decisions, often repainting pieces multiple times to achieve a desired equilibrium among what she describes as 'easy' and 'less easy' or 'awkward' and 'less awkward' colors, without relying on a predefined system. Her collaborations with brands like Comme des Garçons and COS exemplify her ability to bridge fine art and commercial design. For COS, she created window displays for five global stores, featuring large, overgrown stacks of shapes designed to complement product displays. This dual engagement with both artistic and commercial realms is a comfortable space for Smallhorn, who appreciates working with brands that share a similar sensibility toward color and design. Her career demonstrates a consistent exploration of color, form, and proportion across various mediums, continually seeking synergistic relationships in her chromatic work. #SophieSmallhorn #ArtistInterview #ColorDesign #Sculpture #TextileDesign #InteriorArt #DesigntexCollaboration #GeometricForms #CreativeProcess

The article delves into the creative journey of Abdallah Alayan, a Tāmaki Makaurau-based architect, and his collaboration with GH Commercial to explore the capabilities of their new Designer Jet technology. Alayan, known for his innovative approach to craft and creativity, was initially recognized for his profound master's thesis project at the University of Auckland School of Architecture and Planning. His thesis, titled 'Faith in Fiordland,' proposed architectural interventions along a pilgrimage route from Te Anau to Milford Sound, aiming to foster spiritual engagement in an increasingly secular society. The project focused on architecture's potential to evoke poetry and heighten spirituality within the natural landscape by spatially abstracting common practices from various faiths, creating inclusive interventions that unified religious and non-religious individuals through a shared connection to nature's spiritual weight. This work earned him the 2019 Te Kāhui Whaihanga New Zealand Institute of Architects Resene Student Design Award for its clarity, sensitivity, inclusivity, and optimism. Five years later, Alayan embarked on a personal pilgrimage through the Middle East and Mediterranean, visiting remote Greek monasteries. During this journey, the Monastery of Varlaam, perched above Kastraki village in Thessaly, particularly captivated him. He was struck by the visual tapestry formed by the lush greenery, terracotta roofs, and muted rock formations. This experience later influenced his design work. Currently, as an associate at Monk Mackenzie, a multidisciplinary architecture practice, Alayan engages in both commercial and residential projects, exercising a high degree of creativity and craftsmanship. His involvement extends to bespoke furniture and product design, broadening his expertise beyond traditional architecture. Additionally, he runs his eponymous practice, founded in 2019, specializing in boutique architectural and spatial concepts. When GH Commercial introduced its Designer Jet technology to the Australasian market, they presented Alayan with an open-ended brief. This custom carpet technology allows for endless color and bespoke design possibilities, enabling the transfer of patterns, drawings, or images onto carpets with precision engineering. Alayan's objective was to showcase the technology's vast potential while honoring the traditions of tapestry and printing. He identified directionality as a common thread between tapestry, which generates complex images through sequential linear knotting, and digital printing, which applies color directionally. This insight led him to develop a design featuring fine horizontal lines, abstracting traditional processes. To inform the color scheme, Alayan chose to manipulate a photograph from his trip, specifically the image captured at the Monastery of Varlaam, which depicted both architectural and natural elements. This choice resonated with the tradition of incorporating natural and architectural motifs in carpet designs across various cultures, adding another layer to his design's inspiration. Through digital manipulation—selectively expanding and contracting image portions and adjusting color saturation—he achieved his desired outcome. The design features a composition of lines that subtly fade inwards, in both color and visibility, towards a central point where the original image is almost discernible, yet remains open to interpretation. This effect then blurs and fades outwards again, referencing how individual threads or lines in tapestry and printing converge to form larger images. The final custom carpet, a six-meter-long piece, was produced using the cut pile option, which Alayan found best demonstrated the Designer Jet technology's capability to print thousands of colors with impressive precision, creating unexpected color bleeds that added depth. The end result was a striking, vibrant, and evocative piece of art, showcasing the technology's advanced capabilities with minimal pixelation, proving how far this technology can push creative boundaries. The Designer Jet Carpets boast several key features: an ACCS Rating 4 Star for Contract Extra Heavy Duty performance; texture options including cut pile (17oz for standard feel, 26oz for superior comfort) and loop pile (22oz and 24oz for distinctive texture); and size options like rolls (1.96m wide), carpet tiles (500mm x 500mm), or planks (250mm x 1000mm) for flexible installation. From a sustainability perspective, the carpets are Declare Red List Free, Green Building Council compliant, hold Environmental Certification Level 4 (maximum level), and are ISO 9001, ISO 14001, and ISO 45001 certified, as well as PVC, BPA, and Phthalate Free. They also offer fast and cost-effective production in an Australian factory, with no design fees, smaller minimum orders, and flexible pricing. #AbdallahAlayan #DesignerJetTechnology #CustomCarpet #ArchitecturalDesign #TextileInnovation #MonasteryOfVarlaam #AbstractArt #SustainableDesign #InteriorProducts

Lebanese designer Charles Kalpakian has introduced 'Rocky,' a credenza distinguished by its sharp, angular, and sculptural aesthetics. This design represents a three-dimensional interpretation of a traditional pattern frequently employed by cabinet makers, integrating optical illusions to manipulate perceptions of space and volume. The credenza's appearance dynamically shifts depending on the viewer's perspective, offering a constantly evolving visual experience. Crafted from steel, the 'Rocky' credenza features a subtly textured coating available in three distinct color options: black, blue, and aluminum grey. Each color choice enhances the credenza's angular forms, allowing the play of light and shadow to further define its sculptural quality. The steel construction ensures durability and a contemporary industrial aesthetic, while the textured finish adds a tactile dimension to the visual depth created by the optical illusions. Kalpakian’s design process for 'Rocky' involved extensive experimentation, including the use of 3D printed prototypes. These prototypes were instrumental in refining the precise angles and lines necessary to achieve the desired optical effects, ensuring that the credenza’s structure effectively tricks the eye into perceiving varying depths and forms. This meticulous approach highlights the designer's commitment to both innovative aesthetics and precise execution. The functionality of 'Rocky' is also carefully considered. The shelving units are designed to accommodate oversized books, reflecting a practical application for its unique structure. This feature ensures that the credenza is not merely a sculptural art piece but also a functional furniture item, capable of serving its primary purpose effectively while simultaneously acting as a striking design element within any interior space. 'Rocky' forms part of Charles Kalpakian's broader Middle Eastern furniture collection, which often explores the intersection of traditional craftsmanship with modern design principles and technological advancements. This collection frequently showcases his ability to infuse contemporary pieces with cultural resonance while pushing the boundaries of material and form. The credenza exemplifies his signature style, characterized by a blend of artistic vision and practical design. The piece challenges conventional perceptions of furniture by transforming static objects into dynamic visual experiences through the strategic application of geometric principles and optical play. Its versatile color options and robust construction ensure its suitability for a variety of interior design schemes, from minimalist to more eclectic environments. #CharlesKalpakian #RockyShelves #OpticalIllusions #FurnitureDesign #Credenza #SteelFurniture #SculpturalDesign #ContemporaryDesign #InteriorDesign

The "Contemporary Persia" collection is a collaborative effort between Swiss textile manufacturer Christian Fischbacher and architect Hadi Teherani. This collection, comprising 10 distinct fabrics in various color variations, aims to encapsulate the diverse and contrasting hues of the Iranian landscape. The fabrics, intended for both curtains and upholstery, are crafted from a blend of materials such as linen, wool, and polyester. The color palette of the collection features soft shades of blush pink, earthy sand tones, muted greens, and occasional splashes of blue and blush accents. Camilla D. Fischbacher, the creative director of Christian Fischbacher, emphasized the significant creative power and rich cultural heritage of Iran that inspired their dialogue with Teherani. Teherani himself noted that fabrics play a crucial role in completing architectural spaces, offering a tactile and sensory experience. The article highlights ten specific fabrics from this collection, each with unique characteristics and inspirations. One featured fabric is "Roya," a jacquard curtain fabric inspired by the landscape and colors of the Iranian Aladagh Mountains. It is a blend of viscose, cotton, and polyester yarns, which allows for intricate color gradients. "Roya" is available in five color options and its name translates to "beautiful dream" in Persian. "Afsun" is another curtain fabric, notable for its design that subtly incorporates the Persian letters H and T, representing Hadi Teherani's initials. This semi-transparent fabric is described as lively and comes in four flame-retardant color options, making it suitable for commercial applications. "Baran," an upholstery fabric, is created by combining linen warp with loosely twisted weft yarn, resulting in an uneven structure and a geometric dobby weave. Its name, meaning "rain" in Persian, alludes to the scarcity of rain in many parts of Iran. "Diba" is a graphic patterned upholstery fabric made from a natural fiber blend, giving it a lively and soft surface texture with a Panama weave. Its design draws inspiration from the distinctive brickwork commonly found in Persian architecture. Similarly, "Mitra," an upholstery fabric, uses wool yarns combined with linen warp to create a voluminous texture, also inspired by traditional Iranian brickwork. "Tara" is a medium-weight upholstery fabric featuring a dobby weave with loosely twisted yarns that rise to the surface, giving it a bold visual effect. "Donya," a densely woven wool satin, is versatile enough for both curtains and upholstery. It is treated with a special dirt-repellent finish, enhancing its durability and stain resistance. "Donya" is offered in ten colors, including earth, vanilla, blue, and salmon red tones. "Dasht," meaning "desert" in Persian, is another dual-purpose fabric for curtains and upholstery. It comes in ten colorways and is made from linen-cotton chenille yarn, providing an elegant, velvety appearance with a grainy touch. "Nasim" is a transparent voile with a cotton-like feel, available in four colors that coordinate with the "Donya" fabric. Finally, "Aramesh," which signifies "calmness, peace of mind, and bliss" in Persian, is a matt, transparent, and lightweight fabric suitable for curtains. It is flame-retardant and available in mélange colors. Christian Fischbacher, a family-owned company with over 200 years of history, specializes in interior fabrics, accessories, carpets, and wallpapers. The collection reflects the combined creative vision of Camilla D. Fischbacher and Hadi Teherani, both of whom have Iranian roots but reside in Europe. #TextileDesign #FabricCollection #IranianLandscape #InteriorDesign #HadiTeherani #ChristianFischbacher #UpholsteryFabric #CurtainFabric #ContemporaryPersia

The "Ferro" collection, a limited-edition series of homeware, is a collaboration between interior designer Tabitha Organ of Tabitha Isobel Studio and multidisciplinary artist and maker Dom Callaghan. This collection, which includes a side table, a mirror, and a wall lamp, embodies a blend of contemporary design and refined craftsmanship, emphasizing the narrative potential of objects within a space. Tabitha Organ's design philosophy centers on the belief that well-considered spaces positively impact daily life and well-being. Her approach to design focuses on how elements within a space define habits and rhythms. The "Ferro" collection marks her first venture into homeware, developed with Dom Callaghan, who brings a tactile and materially expressive sensibility from his background in fine art. Their collaboration was organic, guided by intuition and dialogue rather than a rigid brief. Both designers share a deep respect for materiality, process, and the atmosphere objects create. This shared ethos, combined with their complementary backgrounds—Organ's spatial and atmospheric perspective and Callaghan's material and form focus—resulted in a dynamic creative process. The collection is entirely handmade by Callaghan in his Dartmoor workshop. The side table features a solid London Plane wood top and a brushed stainless-steel leg, while the wall lamp has an origami-like silhouette. The mirror is framed with a checkerboard pattern of London Plane wood, chosen to highlight the natural variations of the timber. Sustainability is a core aspect of the project, with the timber sourced from "Fallen & Felled," a London-based initiative that reclaims and reuses wood from felled urban trees, adding a layer of ethical value to the products. Organ highlights the deliberate paring back of design elements, combining the depth and character of London Plane wood with the precision and reflective qualities of steel. This intentional simplicity aims to foster a calmer, more intentional way of living, imbuing the pieces with a sense of permanence. A distinctive feature of the "Ferro" collection is the hidden joinery, creating a sense of mystery about how the pieces are assembled. This subtle detail underscores the collection's synthesis of contemporary design and fine craftsmanship. The designs are characterized by delicate contrasts, blending softness and rigidity, and presenting a sculptural yet minimalist aesthetic that feels both organic and industrial. The pieces are designed to hold space without dominating it, allowing their materiality to speak within calm and grounded living environments. Callaghan notes the strong silhouettes, repetition of form, and details that reveal themselves upon closer inspection, contributing to the pieces' considered, almost architectural simplicity. The "Ferro" collection serves as an invitation to engage with space more mindfully, reflecting a shared language of restraint and presence. #FerroCollection #TabithaOrgan #DomCallaghan #LimitedEditionFurniture #ContemporaryDesign #RefinedCraftsmanship #SustainableDesign #Homeware #InteriorDesign #FurnitureDesign

African design is increasingly gaining global recognition for its unique magnetism and rich heritage, shifting from a previously overlooked status on the international stage. This burgeoning movement is championed by a new generation of designers who are skillfully blending traditional African craftsmanship with contemporary aesthetics, bringing a fresh perspective to furniture, textiles, and art. Among these prominent figures is Chrissa Amuah, founder of Amwa Designs, a London-based studio that creates textiles, furniture, and art inspired by Ghanaian sensibilities. Her 'Asanka' table, for instance, incorporates a jesmonite interpretation of a traditional West African grinding bowl under a glass top, with its wooden base drawing from the Ghanaian Adinkra symbol Adinkrahene, representing authority and leadership. Amuah's designs often feature vibrant color combinations and off-center silhouettes, embodying a balance of strength and vulnerability. Another notable presence is Altin Studio, founded by Mehdi Kebaier and Yasmine Sfar in Tunisia. This studio celebrates local design by utilizing native materials like sea rush, clay, and palm wood. They reinterpret age-old techniques through a contemporary lens, evident in pieces like the 'Ganymede' cabinet, which contrasts woven sea-rush panels with earth-red metal, referencing satellite patterns. Their 'Petite Ourse' seat, hand-carved from palm wood, also draws inspiration from celestial themes, alluding to the 'Little Bear' constellation. From Lagos, Nigerian designer Nifemi Marcus-Bello leads Nmbello Studio with an ethos rooted in empathy and respect for people and places. His work, developed over the past decade, has garnered several awards, including the Hublot Design Prize and the Curator’s Choice: Design for Good Award. His 'Oríkì' series, particularly 'Act 1: Friction Ridge', explores materiality and form through bronze sculptural benches, named after the Yoruba practice of praise poetry, and launched with an immersive installation featuring a soundscape of his mother reciting his personalized oríkì. In Johannesburg, Thabisa Mjo, the creative force behind Mash.T Studio, produces furniture, lighting, and homeware that celebrate South Africa's diverse cultural tapestry. Collaborating with artisan communities, she incorporates materials such as colored beadwork and repurposed telecommunication wire, traditionally used by Zulu watchmen, into pieces like her 'Bright Light' pendant and '4Kona Light'. Her recent lighting collections honor Xhosa customs and circular architectural forms found in rural areas, employing vibrant palettes that signify abundance and festivity, thereby promoting local crafts globally. Rich Mnisi, a Johannesburg-born designer, initially made his mark in fashion before venturing into collectible furniture. His work bridges the gap between function and art, drawing inspiration from the women in his life, queerness, and heritage. Pieces like the 'Nwa-Mulamula' chaise, displayed at Southern Guild’s ‘Mother Tongues’ exhibition, reflect the reclining body of his great-grandmother, showcasing a striking fluidity and organic elegance. His new work, ‘Vutlhari (Wisdom)’, a light crafted from bronze and resin, also features sweeping silhouettes. Zimbabwean artist Xanthe Somers draws on her homeland's customs for her hand-built ceramic sculptures, often functional as lighting and vases. Her 'In Bad Taste' collection challenges the political aspects of design, critiquing Western overconsumption and the impact of eco-racist practices on the global South. Her work, displayed in prestigious venues like London’s V&A; Museum, features vivacious colors, exaggerated silhouettes, and thought-provoking narratives. Don Tanani, a contemporary Egyptian brand, aims to redefine Egyptian design and showcase local talent. Collaborating with designers like Lina Alorabi, whose work has been exhibited internationally, the brand focuses on reclaiming Egyptian identity through sophisticated pieces. Alorabi’s 'Moruna' collection features a conversation chair, a curvaceous sun lounger, and coffee tables with tile patterns, reflecting the dynamism of Cairo and collaboration with craft experts. Finally, South African ceramicist Chuma Maweni began his journey crafting vessels using a pit-firing technique intrinsic to the Nguni people, developing a distinctive aesthetic of dark, porous surfaces and hand-formed sculptural outlines. After opening his Cape Town studio in 2016, his work, including the 'Imbizo' dining table and stools, has been exhibited globally and acquired by institutions like the Metropolitan Museum of Art, continually celebrating traditional craft through a fresh, contemporary lens. #AfricanDesign #Craftsmanship #ContemporaryDesign #FurnitureDesign #TextileDesign #CeramicArt #CulturalHeritage #EmergingDesigners #GlobalDesign

The article explores the profound and long-standing influence of Islamic art and design on Western artistic creation, particularly highlighting its role in shaping modernity. It begins by discussing the exhibition "Cartier and Islamic Art: In Search of Modernity," currently at the Dallas Museum of Art, which showcases how Islamic geometric designs inspired Cartier's groundbreaking modern aesthetic in fine jewellery at the turn of the 20th century. This exhibition underscores a relationship between European and Islamic art that has been historically complex, marked by both fascination and political dynamics. In the 19th century, with the advent of the colonial era, increased Western influence in the Middle East opened up travel opportunities for European and North American artists. These artists traveled to cities like Constantinople, Jerusalem, Cairo, and Marrakech, creating paintings that, despite their often clichéd and Orientalist depictions of people and cultures, accurately rendered the beauty of Islamic craftsmanship. These works offered Western audiences their initial exposure to Islamic art, including stylized floral tiles, geometric architectural features, ornate metalwork, jewellery, and textiles. Experts note that these artistic portrayals preceded serious academic scholarship, driving a market for Islamic artefacts among collectors. While collectors sought originals, designers found inspiration in Islamic motifs. Ottoman ceramics influenced European manufacturers, and Alhambra vases inspired imitations. Books from the period, such as Christopher Dresser's "Studies in Design," even provided guidance on incorporating Islamic elements into home decor. However, this growing Western appreciation coincided with a decline in the practice of these crafts in their native countries due to Western colonization and cultural infiltration, leading to a period of artistic stagnation and Western aesthetics overpowering indigenous traditions. Early Western exhibitions of Islamic art, such as the 1893 display by the Union Centrale des Arts Décoratifs, faced criticism for their Orientalist scenography and genre mixing. It was not until Gaston Migeon's 1903 "Exposition des arts Musulmans" that a more scientifically organized and critically acclaimed display emerged, generating significant enthusiasm and opening Western eyes to the true depth of Islamic art. Louis Cartier, though not confirmed to have visited the exhibition, certainly had access to its catalogue, and it is believed to have been a pivotal source of inspiration for him. At a time when European jewellers were recycling historical styles, Cartier sought a new aesthetic, rejecting the prevalent Art Nouveau. The 1903 exhibition provided him with a new visual vocabulary rooted in the geometry and distilled motifs of Islamic art. He began integrating these elements into his designs as early as 1903, sometimes in minimalist pieces and other times blending them with existing garland styles. A subsequent groundbreaking exhibition in Munich in 1910 further spurred Cartier's interest, leading him to build his own collection of 16th and 17th-century Iranian and Indian manuscripts, paintings, and inlaid objects. From then on, Islamic architecture, manuscripts, and textiles became a consistent source of inspiration for Cartier, influencing motifs like crenelated parapets, brick patterns, almond-shaped mandorlas, finials, and scrolls. The colours and materials of the Iranian world, such as lapis lazuli, sapphire, jade, and emerald, became prominent in his designs, often mimicking the glazed ceramic brickwork of Central Asia. The article highlights a 1922 bandeau by Cartier featuring coral, onyx, and diamonds, which exemplifies the integration of miniature architecture and curvilinear forms. Beyond Cartier, the influence of Islamic design permeated various artistic fields. Henri Matisse's visit to the Alhambra after the 1910 Munich exhibition led to more intense colours and flatter patterns in his work, with his paper cut-outs showing unmistakable similarities to tessellated tile work. MC Escher was also deeply inspired by the Alhambra's symmetry and mathematical ingenuity. In performing arts, Leon Bakst's Oriental costumes for the Ballets Russes influenced couturiers like Paul Poiret, who created lifestyle experiences incorporating Islamic-inspired fashion, furniture, and textiles. Carlo Bugatti, an innovative furniture designer, similarly integrated Islamic effects like muqarnas and horseshoe arches into his creations. Although Islamic design fell out of favour in the West by the mid-20th century, recent exhibitions, such as "Islamophiles: L'Europe moderne et les arts d'Islam" (2011) and "Inspired by the East: How the Islamic World Influenced Western Art" (2019), have revived interest. The ongoing Cartier exhibition aims to serve as a catalyst, reintroducing these historical objects to new audiences and potentially inspiring a new generation of artists and designers, reflecting a continuous trajectory of influence and reinterpretation. #IslamicArt #CartierJewellery #ModernAesthetics #ArtHistory #CulturalExchange #DesignInfluence #Orientalism #Exhibition

Laura Kirar, an internationally acclaimed American-born, Mexico-based interior and product designer, shares insights into her unique style, diverse inspirations, and creative process. Her design philosophy emphasizes the combination of raw materials with her deep understanding of art, architecture, fashion, and music. Kirar’s early influences stem from her upbringing in Chicago, where she was exposed to significant art and architectural collections, including works by Daniel Burnham, Louis Sullivan, Mies van der Rohe, Frank Lloyd Wright, Brancusi, Georgia O’Keeffe, René Magritte, and Salvador Dalí. These foundational experiences shaped her perspective, leading her to view furniture as sculptural objects and spaces as canvases for human experience. Kirar's passion for both art and architecture guided her career choice. She describes her approach as abstract, knowing when to adhere to design principles and when to innovate. The ability to create environments where lives unfold is a powerful motivator for her. Her current inspirations include contemporary artists, fashion designers, and musicians such as Peter Zumthor, David Wiseman, Milena Muzquiz, Monica Rezman, and Marcela Diaz. She expresses a particular fondness for coral pink in all its hues, describing it as luminous and soothing, suitable for various applications from walls to textiles. Travel plays a significant role in Kirar's inspiration, leading her to discover unique shops worldwide. In Mexico City, she frequents Trouve for vintage items. New York offers Les Atelier Courbet, The Future Perfect, and Artemest. In London, she highlights The Carpenters Workshop Gallery at Ladbroke Hall, and in Paris, Pierre Frey for textiles, along with various antique and vintage markets like Marche Biron. Mexico itself is a profound source of inspiration, influencing her sense of color, scale, and textures, and fostering her appreciation for traditional crafts found in its mountains, valleys, and cities like Oaxaca and the Yucatan. Kirar is also a passionate collector, believing that artists benefit from surrounding themselves with inspiring objects. Her collections include vintage chairs, ceramics, pottery, art books, hand-woven textiles, vintage cowboy boots, and silver Navajo accessories, all chosen for their stories. She recently acquired her fourth art piece by Cisco Jimenez, suggesting a new collection in the making. Her personal art collection includes a Cindy Sherman photograph, which has inspired the palette for an entire room. Beyond visual arts, Kirar finds inspiration in film, particularly through MUBI, enjoying classic films, film noir, thrillers, and sci-fi. She also has eclectic musical tastes, ranging from The Cure to opera, classical, rock, punk, and jazz, appreciating the intimacy of live performances. Among her extensive product designs, which number over a thousand, she favors the Mar floor lamp and Vargueno chair from her collection with Arteriors. Her Vir Stil and Paletta bath collections for Kallista have been bestsellers for two decades, and her Caviar chandelier for Arteriors has consistently topped its bestseller list since 2010. Kirar also enjoys cooking, drawing on her Italian heritage to create dishes like pici al limone with sautéed radicchio. She also puts a contemporary spin on traditional Mexican chiles rellenos. Her philosophy is that cooking can be spontaneous and creative, often improvising with available ingredients. This reflects her broader approach to design and life – a blend of diverse influences, personal passion, and creative adaptation. #InteriorDesign #ProductDesign #LauraKirar #CreativeProcess #ArchitecturalInfluence #ArtInspiration #MexicanCrafts #DesignPhilosophy #GlobalTravel

Celine Interior Design, a leading luxury interior design firm founded by Noor Charchafchi, is expanding its global presence with new offices slated to open in Dubai and Riyadh in 2024. Charchafchi, recognized among the Top 50 Luxury Interior Designers in the UK, has established the company's reputation through impeccable projects, including the prestigious Mayfair Residence in London. The expansion into the Middle East is a significant step, driven by Charchafchi's Iraqi heritage and a desire to contribute to the region's growth by uniting creative visions and design excellence in residential and commercial ventures. Celine Interior Design distinguishes itself through a cross-disciplinary approach that blends timeless British heritage with contemporary Middle Eastern aesthetics. The company is known for its first-class service and commitment to creating superior, all-encompassing living spaces that elevate the quality of life for its clients. This strategic expansion into Dubai and Riyadh, alongside a planned office in Monaco, signifies the company's exponential growth and reflects Charchafchi's dedication, professionalism, and talent. Her extensive experience encompasses high-profile residential and commercial property developments across the UK and internationally, including Mayfair, Knightsbridge, Belgravia, Monaco, Cap Ferrat, The Swiss Alps, Saudi Arabia, and the United Arab Emirates. The Private Mayfair Residence, one of Charchafchi’s recent projects, exemplifies the firm’s commitment to excellence and limitless creativity. Located within a historical building in Mayfair, London, this residence showcases bespoke luxury furniture, art masters, oriental panels, and hand-crafted artisanal works. The project pushed creative boundaries, featuring unique elements such as hand-painted murals, a 'jewel-box' pink Onyx master bathroom, an animal print-themed dressing room designed to house 400 pairs of shoes and couture fashion, and a palm print-themed bathroom for the owner's twin daughters. Noor Charchafchi's work has garnered numerous accolades, including British Industry Awards, International Design & Architecture Awards (where she was consecutively named Residential 10m plus winner for over three years), and International Property Awards. Celine Interior Design was also recognized as Designer of the Year 2022 and featured in prestigious publications like Country and Townhouse magazines, the Top 50 UK Interior Designer list, and Great British Brands in 2021. Demonstrating her diverse expertise, Charchafchi recently launched a private yacht and aviation design service, leveraging her background in aviation finance, to cater to a broader spectrum of clients' lifestyle needs. With a substantial following on Instagram in the Middle East and a network of elite regional contacts and developers, Celine Interior Design is well-positioned for significant success in Dubai and Riyadh. The company aims to further expand its core interior design offerings and these specialized services on an international scale, aligning with its mission to provide comprehensive lifestyle solutions for its clientele. #CelineInteriorDesign #LuxuryInteriorDesign #NoorCharchafchi #DubaiDesign #RiyadhDesign #MiddleEastExpansion #MayfairResidence #ArchitecturalDesign #GlobalDesign

Rana Salam, a Lebanese-British graphic designer, has established a notable presence in the design world by uniquely blending Lebanese and Middle Eastern pop culture with retro and pop art influences. Born in Lebanon, Salam's early inspiration stemmed from her architect father, Assem Salam, and a Vespa gifted to her at age 15, which encouraged her to explore Beirut's art-filled streets. Her distinctive style is characterized by transforming visual snippets from billboards, vintage film posters, and signs into large-scale, retro-inspired art pieces, utilizing modern design technology to present her interpretation of pop culture to a global audience. Salam pursued her higher education in England, earning a BA in Graphic Design from Central St. Martins and a Master’s Degree in Visual Communication and Art Direction from the Royal College of Art in 1992. During this period, she recognized the rich creative potential within her home country and developed a passion for pop arts, focusing on reinventing them with contemporary flair. Her career gained momentum in 1995 when she established Rana Salam STUDIO in London. A pivotal early project involved designing a window display for Harvey Nichols, a prominent London department store, using collages of street billboards and featuring iconic figures like Bettie Page and Brigitte Bardot. Further solidifying her reputation, Salam drew inspiration from renowned designers such as Paul Smith, Sonja Rykiel, and Kate Spade. Following her success with Harvey Nichols, she was commissioned to design the new swimwear department for Liberty of London. A significant milestone in her career was the 2008 publication of her book, “The Secret Life of Syrian Lingerie,” co-authored with Malu Halasa, which sold 5,000 copies in its first year, marking it as a considerable success. After living in England for 27 years, where she absorbed the local art culture and integrated it into her Middle Eastern-inspired designs, Salam relocated her Rana Salam STUDIO to Beirut in 2010. A year later, she expanded her enterprise by opening the Rana Salam SHOP, which offers home products, accessories, art, and prints. Her focus is on curating unique objects to enrich her artistic creations, striving to portray Lebanon and the Middle East in a positive light through her work. As an entrepreneur, Salam's influence extends internationally, with projects and designs in cities including Miami, London, Dubai, Istanbul, and Milano. Her collaborations include working with Sauce Dubai to recreate Ferruccio Laviani’s classic Bourgie Lamp for Kartell and developing a new design for the iconic Converse brand as part of the “Made By You” project in 2015. She also contributed a pop-up installation to the Istanbul Design Biennale in 2017. More recently, she has been involved in designing for notable Lebanese restaurants in the diaspora, such as Comptoir Libanais in London and Noura in Paris. Rana Salam remains committed to her artistic mission of transforming perceptions of the Middle East through the transformative power of design. #RanaSalam #LebaneseDesigner #BritishDesigner #PopArt #GraphicDesign #MiddleEasternCulture #ArtDirection #DesignEntrepreneur #CulturalFusion

The intersection of fashion and home decor is becoming increasingly prominent, with designers extending their creative vision from clothing to interior spaces. This trend has seen luxury and established houses like Ralph Lauren, Dior, and Louis Vuitton offering home goods for some time, but in 2025, newer and particularly Black fashion brands are embracing this expansion. Victor Glemaud, known for his knit materials and exquisite patterns, recently unveiled a collaborative rug collection with Patterson Flynn. This collection is characterized by warm tones and abstract yet classic patterns, influenced by Glemaud's travels to Abidjan, Côte d’Ivoire, and Dakar, Senegal. The designs feature artistic animations of fish, turtles, and lizards, alongside floral motifs. Glemaud emphasizes that his design DNA translates naturally between fashion and home, highlighting the importance of respecting artisans and craftspeople in these new ventures. Similarly, Chuks Collins has ventured into home decor through a collaboration with Lush Decor. His collection, which was presented alongside his Fall/Winter 2025 fashion line, includes linens, duvets, and shams. Collins views home as an extension of oneself and a sanctuary, believing that personal style and home curation are intertwined. His designs incorporate intricate prints and craftsmanship, drawing inspiration from themes of renewal and healing. He foresees a continued integration of fashion and home design, aligning with Pinterest’s 2025 trend predictions for “Surreal Soirees,” which feature fanciful prints of fungi and wildlife. Sade Mims, founder of Edas, a brand known for its vibrant accessories, also delves into home decor. Her work aligns with the “Mix And Maximalist” trend, utilizing bold colors and textures. Mims designed a side table in 2019 and is planning more homewares, including an incense holder. She initially aspired to be an interior designer and always saw the potential for fashion and interior design to intersect, despite earlier industry resistance. Mims expresses her happiness at the current shift, where creatives are encouraged to explore various realms of design without being constrained by traditional industry blueprints. She believes that the fashion industry's constant search for innovation has led to the successful integration of home styling, particularly for Black designers, given the rich history and aesthetic storytelling embedded in Black homes. This natural progression reflects a broader understanding that both fashion and interior design ultimately aim for self-expression and embodiment. #FashionDesigners #HomeDecor #InteriorDesign #BlackDesigners #VictorGlemaud #ChuksCollins #SadeMims #FashionTrends #CollaborativeCollections

Renowned textile designer Jack Lenor Larsen has collaborated with Sunbrella, a prominent manufacturer of performance textiles, to launch the Larsen Performance Collection. This partnership marks Sunbrella’s first venture into developing an entire collection with Larsen, building on their existing history of collaborations. The collection introduces a vibrant array of multi-use performance textiles that mimic the luxurious appearance and feel of high-end fabrics, while incorporating inspired designs. Larsen, a key figure in 20th-century craftsmanship, draws inspiration from his ambition to integrate design into unexpected contexts, reflecting individuality and global influences gathered during his travels. His familiarity with performance fabrics stems from his work at LongHouse, the 16-acre nature reserve and sculpture garden he established in East Hampton, New York. The collection emphasizes the integration of art into everyday environments, offering intricate and rich patterns that are also durable, fade-proof, and easy to maintain. Larsen has delved into his extensive print archive to reinterpret multicolor floral and stripe designs, transforming them into woven jacquard patterns. These patterns feature soft chenille textures, bringing a new level of tactile comfort to both indoor and outdoor living spaces. Larsen highlights the revival of “Midsummer,” his most popular floral print from the 1950s, now re-imagined as a woven jacquard. His long-standing interest in basket collection also informs the designs, with the Interlacing pattern serving as an exploration of basic basket weave constructions translated into textiles. He emphasizes the importance of durability in fabrics, stating that textiles need to resist fading for various applications, including children’s areas, workspaces, and living spaces, drawing a parallel to the strength of a well-woven basket. Larsen describes the collection’s colors as possessing a “crispness, cleanliness, bright or not,” suggesting their versatility across numerous settings and their ability to create coherent aesthetic themes both indoors and outdoors. A key element of the Hieroglyph design is its fabric pattern, for which the Sunbrella design team developed a performance-grade “horsehair” yarn. This yarn incorporates bi-colors that blend matte and shine finishes, contributing both luster and enhanced durability to the pattern. Similarly, the Chinoise fabric showcases an all-over matelassé pattern, delivering a subtle yet captivating motif with a soft, tactile quality. Larsen expresses his satisfaction with the jacquard facilities and the capacity to use multiple colors to produce patterned fabrics, which he believes bring joy. He acknowledges the significant advancements in fabric technology, noting the rising importance of multi-use spaces and the availability of fabrics that resist sun fading, rot, mildew, rain, and wear. Larsen summarizes the collection’s diversity, ranging from “quite bold, to subtle, to crisp,” and reiterates his belief that the colors are adaptable to many environments. The collection aims to provide high-quality outdoor style solutions, as Larsen remarks on the pleasure of outdoor entertaining. The Larsen Performance Collection is currently available through Larsen Fabrics, offering a range of textile options that blend artistic design with practical performance characteristics for contemporary living. #TextileDesign #PerformanceFabrics #JackLenorLarsen #SunbrellaCollaboration #InteriorDesign #OutdoorLiving #JacquardPatterns #FabricInnovation

This week, Paris is hosting a diverse array of art and design events, with the return of Art Basel Paris and Design Miami Paris for their third editions. The French capital's historical venues, including _hotels particuliers_ and landmark apartments, are showcasing collectible design that explores experimental and multidisciplinary approaches, from textile-like treatments of solid surfaces to the integration of music with design. This roundup highlights the most compelling design exhibitions available to explore during this period. India Mahdavi presents a triple bill of collaborative exhibitions. Her Project Room #20 features 'Parenchyma,' a solo exhibition by studio Kauani, displaying cactus-shaped sculptural lights, an intimate study of xerophytic plants, created by Inés Llasera and Inés Quezada. Her Tiny Room gallery hosts an exhibition of anthropomorphic chairs by Serban Ionescu, reflecting his Balkan origins and an improvised approach to wood. Additionally, Mahdavi collaborates with culinary collective We Are Ona for _Rose C'est La Vie_, a flower-clad restaurant pop-up with Mexican chef Jesús Durón, whose interiors evoke Mahdavi's iconic APT club in New York. Perrier Jouët returns to Maxim's for the second year with its 'Parenthèse Belle Époque,' transforming the legendary Art Nouveau venue with stained glass windows, Émile Gallé anemones, and vintage posters. This event includes exclusive gastronomic pairings by Maxim's chef Yann Meinsel and Maison Belle Époque executive chef Sébastien Morellon. Charles Zana unveils his new _In Situ_ furniture collection within a 500-square-metre Directoire apartment, formerly home to the Swedish Circle. The exhibition presents a 'fantasy' interior that mixes Zana's works to create an emotional experience rather than just an aesthetic. The display also features a coffee bar by pastry star Yann Couvreur and a soundtrack by Sébastien Tellier and Ray Mang. The Contributions design festival, curated by Anna Caradeuc and Élise Daunay, hosts its second edition, intertwining design and music through five installations. Highlights include Nifemi Marcus-Bello's M2 Shelf with an integrated speaker, in collaboration with La Boîte Concept, and Italian musician Andrea Laszlo De Simone's audiovisual piece _Una Lunghissima Ombra_, accompanied by a natural wine bar and micro-cinema by Harold Mollet and the design collective Metals. The inaugural Salon des Nouveaux Ensembliers, held at the Galerie des Gobelins under the patronage of France’s manufactures nationales (Sèvres and Mobilier national), brings together a new generation of interior architects. Under the theme ‘L’Ambassade de demain’ (the embassy of tomorrow), ten architect-decorators reinterpret diplomatic spaces, focusing on how design can embody representation, openness, and exchange while addressing ecological and social responsibility. Salon 94 Design showcases Massimiliano Locatelli and Fabio Zambernardi's 'Nullus Locus,' a collection of objects featuring embroidery on timber, transforming wooden vessels and furniture into unexpected canvases for floral designs, realized with the expertise of Graziano Ricami. Additionally, 'Un Souffle De Vent' by Yves Salomon Editions X Dimorestudio presents an immersive installation inspired by Georges Perec’s novel _Les Choses_, emphasizing contemplation of objects through tactile surfaces and a rich material palette. Nilufar and Métaphores present 'In The Mood for Touch,' an immersive installation exploring the tactile and emotional potential of interiors through their respective design and textile works. CØR Studio, Harold Mollet, and Monument present 'Im Zwischen,' a group exhibition exploring the 'in-between' as a bridge between historical and contemporary design, featuring a 10-metre light wall by François Chapuis and iconic designs by Ron Arad and Ingo Maurer. LVH Art showcases Donald Judd's minimalist work within a grand Parisian residence, providing a compelling contrast with ornate French interiors. Finally, Invisible Collection and Féau Boiseries exhibit 'Period Rooms of the Future,' where previously unseen Art Deco elements form the backdrop for contemporary pieces, bridging the cultural continuity between the 1920s and today's collectible design. Galerie Patrick Seguin hosts 'Saint Laurent – Charlotte Perriand,' where Anthony Vaccarello has selected and recreated four of Perriand’s lesser-seen works, produced in limited editions from archival drawings and original models. #ParisDesignExhibitions #ArtBaselParis #DesignMiamiParis #InteriorDesign #CollectibleDesign #IndiaMahdavi #CharlesZana #ContemporaryArt #FrenchDesign