A New Exhibition at SCAD Focuses on André Leon Talley’s Life in Clothes

The Ditchling Museum of Art + Craft in Ditchling, England, is currently hosting an exhibition titled "Double Weave: Bourne and Allen’s Modernist Textiles," which aims to reintroduce the British textile company Bourne and Allen, and its founders Hilary Bourne and Barbara Allen, into the annals of design history. Active in the mid-1900s, Bourne and Allen produced a range of iconic woven fabrics, yet their contributions have largely faded from public memory. This retrospective seeks to correct that oversight by highlighting their innovative craftsmanship and personal story. Hilary Bourne and Barbara Allen were partners in both life and business, and their company was known for blending modernist aesthetics with traditional craft techniques. They frequently utilized natural materials and plant dyes, sourcing wools from across the United Kingdom. Their products, which included woven scarves, tweeds, and furnishing fabrics, were carried by prestigious department stores and design houses such as Liberty of London, Heal’s, and Fortnum and Mason. Bourne and Allen also played a significant role in major theatrical and film productions of their era. Notably, they designed expansive stage curtains and furnishing fabrics for the Royal Festival Hall in London, built for the 1951 Festival of Britain. Their work extended to Hollywood, where they produced 52,000 yards of custom-woven fabric for the costumes of 452 actors and 25,000 extras in the epic film *Ben-Hur*. The exhibition, which is the culmination of extensive archival research conducted by a team of ten, delves into the duo’s work, their lives, and their four-decade-long relationship. Various sections of the show explore their distinct weaving techniques, the materials they employed, their global inspirations, their personal backgrounds, and key career achievements. The displayed fabrics, encompassing both swatches and longer lengths, illustrate Bourne and Allen’s unique aesthetic, characterized by bright primary colors derived from natural dyes like indigo (blue), madder (red), and weld (yellow), contrasted with the natural hues of undyed sheep’s wool. The use of Lurex alongside dark yarns and varied weaving techniques such as plain weave, double weave, chenille, ikat, and floats of thick hand-spun yarns, created alluring textures. The exhibition contextualizes Bourne and Allen within a vibrant, women-centered community of craftspeople in England that predated World War II. A display titled “Map of intimacies: Women’s networks of love, friendship, and textile practice” visually charts the collaborative and intimate relationships among the women—friends, lovers, companions, business partners, and sisters—who influenced Bourne’s and Allen’s lives and work. To demonstrate the enduring relevance of Bourne and Allen's legacy, the exhibition incorporates commissions from two contemporary artists, Poppy Fuller Abbott and Omeima Mudawi-Rowlings. Abbott, a weaver from Sussex, created a piece inspired by the mid-century designers' techniques using indigo-dyed linen with silk floats, and also wove textile samples that replicate Bourne and Allen's fabrics for visitors to handle. A film in a dedicated viewing room documents Abbott’s weaving process. Mudawi-Rowlings's site-specific installation, "Drawn to the Light (نور)," features long swathes of silk dyed with plant materials and printed with personal symbols, reflecting themes of interconnectedness and personal identity amidst global events. Ultimately, "Double Weave" serves as a meditation on themes of love, loss, home, and land. It underscores how the act of weaving, both literally and metaphorically, involves intertwining traditions across time and place, fostering a continuous dialogue through generations in the form of fabric. #TextileHistory #MidCenturyDesign #ModernistTextiles #BritishDesign #Craftsmanship #QueerHistory #DitchlingMuseum #TextileArt #ExhibitionReview

The article discusses Tyler Mitchell's exhibition, 'Portrait of the Modern Dandy,' at Gagosian Burlington Arcade in London. This collection of photographs was initially created as a visual essay for the Met's spring 2025 Costume Institute exhibition, 'Superfine: Tailoring Black Style,' curated by Monica L. Miller. Mitchell's decision to display these works in Burlington Arcade is intentional, given the area's historical connection to sartorial culture, being close to Savile Row and Jermyn Street, and once housing Britain's first department store. He highlights that figures like Olaudah Equiano and Julius Soubise utilized style in these very streets centuries ago as a means of self-expression and challenging social hierarchies. The exhibition is significant as it deliberately reinserts contemporary images of Black Dandy presence into a historical lineage that largely began in England. Mitchell's series invites a re-evaluation of dandy aesthetics and their contexts, building upon recent explorations of menswear and Black style in London, such as Ekow Eshun’s ‘Made You Look: Dandyism and Black Masculinity’ and the V&A’s ‘Fashioning Masculinities: The Art of Menswear’. Mitchell, who understood dandyism and the Black Dandy archetype before this project, views it as a clever subversion of traditional male dress conventions. His upbringing in Atlanta led him to seek alternative expressions of male identity intertwined with his Blackness. Mitchell is known for his world-building and scenes of Black utopia, where leisure is portrayed as a tender pursuit, as evidenced in his monograph 'Wish This Was Real.' Fashion serves as a crucial storytelling tool in his work. He has collaborated with notable designers like Jonathan Anderson and Grace Wales Bonner and made history as the first Black photographer to shoot a _Vogue_ cover (Beyoncé) in the magazine's 126-year history at just 23 years old. For Mitchell, the Black Dandy symbolizes a realm of possibilities, offering a perspective on reimagining masculinity. The Gagosian show features protagonists dressed in various suit styles and accessories, some wearing garments from the Met exhibition, while others are self-styled or don pieces from their personal wardrobes. Noteworthy images include '_The Dinner Party_,' depicting nine individuals in sharp black suits, top hats, and bow ties around a table, and '_Harlem Stoop_,' showcasing eight people in front of a Brownstone, referencing the Harlem Renaissance. Mitchell reflects on the project's origins, stating that Monica Miller gave him considerable creative freedom, aiming to blend historical references with a modern sensibility while envisioning the future. His research for the project involved immersing himself in Miller’s writings and revisiting other influential works like Isaac Julien’s _Looking for Langston_. He recalls a significant moment discovering an early portrait of Colman Domingo in Shantrelle P Lewis’s _Dandy Lion: The Black Dandy and Street Style_, which underscored how dandyism can be evoked through diverse means, primarily through attitude and wit. Mitchell perceives his work as fragments of a larger narrative, embracing beauty while accepting that not every image needs to be a standalone masterpiece, emphasizing fluidity. In creating 'Portrait of the Modern Dandy,' he consciously engaged in a dialogue with photographic predecessors such as James Van Der Zee, Carl Van Vechten, Seydou Keïta, and Malick Sidibé, and acknowledges contemporary influences like Yinka Shonibare, Isaac Julien, Grace Wales Bonner, and Rotimi Fani-Kayode in London. #TylerMitchell #PhotographyExhibition #BlackDandy #GagosianLondon #FashionHistory #Masculinity #ArtAndCulture #LondonArtScene

The 17th annual Dallas Art Fair, held at the Fashion Industry Gallery, opened its doors for a VIP preview, offering a much-needed respite from the week's financial volatility. The event, which showcases works from 93 galleries across 21 countries, emphasized bold, joyful, and unapologetic color in its exhibits. Local artist and fashion designer Geoffrey Henning, who toured the fair, noted a prevalent "naïve moment" characterized by looser, less rigid strokes and bright, happy hues. This artistic direction was exemplified by Paul Jenkins' "Phenomena Place of the Crucible," where paint was poured directly onto the canvas and tilted to create fluid, glaze-like washes, as explained by Ruben Tanzi of Rochini Gallery. Another artist that garnered attention was James Benjamin Franklin, whose multi-hued works utilized fabric as a base. Layers of resin, sand, and textiles in his pieces created organic landscapes, a technique highlighted by Tara Akitt, senior director at LSC Gallery. Henning found these works to possess interesting depth, providing a unique departure from traditional flat canvases and representing a fusion of fashion and art. The fair also featured Tina Girouard’s "Pink Floral (Lillypad)" at the Anat Ebgi Gallery booth, a piece adorned with sequins and beads on fabric. This particular work was one of seven selected to join the Dallas Museum of Art’s permanent collection through the Dallas Art Fair Foundation Acquisition Program, which has supported a diverse range of artists and galleries since its inception in 2016. Marlon Wobst’s "Desert Moon," a large-scale felted, textured tapestry, was another notable exhibit, offering insights into human experiences and rituals. Its prominent placement in the Galleri Urbane booth, one of the many local exhibitors, was fortuitous due to a suitable window in their space, as noted by owner Ree Willaford. Texas galleries maintained a strong presence at the fair, including Colector, Conduit Gallery, Cris Worley Fine Arts, Erin Cluley Gallery, Nature of Things, Pencil on Paper Gallery, Sputnik Modern, Valley House Gallery, and Fort Worth’s William Campbell Gallery. Despite economic uncertainties, Dallas gallery owner Cris Worley expressed optimism, emphasizing the mission to support artists and their messages. This sentiment was echoed by early sales at the fair, such as hometown artist Celia Eberle’s paper wall sculptures, which quickly sold out within the first two hours of the preview. Similarly, Jessica Vollrath’s portraits at Pencil on Paper fetched prices in the mid-four-figure range. Kelly Cornell, Executive Director of the Dallas Art Fair, reiterated the event's mission to facilitate discovery, foster connections between exhibitors and collectors, and celebrate the caliber of gallery presentations and the enthusiasm of the city’s art lovers. The Dallas Art Fair was scheduled to continue through Sunday, April 13, from 11 a.m. to 5 p.m., with a one-day general admission cost of $36. #DallasArtFair #ArtExhibition #ContemporaryArt #ArtAndDesign #ArtMarket #TextileArt #DallasEvents #GalleryShowcase

The article chronicles Vivienne Westwood's visit to Savannah, Georgia, where she received the André Leon Talley Lifetime Achievement Award from SCAD and unveiled a new exhibition of her work at the SCAD Museum. Westwood, known for her distinctive style and strong political convictions, navigated the city streets in five-inch platform boots, wearing a rose-colored toga over a visible black bra, armbands advocating for 'Climate Revolution,' and political slogan buttons. This attire underscores her refusal to be categorized solely as a preserved punk icon, a design legend, a feminist heroine, or a grand dame. Despite her historical association with punk aesthetics involving safety pins and dog collars, her current rebellious and activist spirit firmly establishes her as a lifelong punk, even as her design focus has evolved. Westwood's primary concern during her visit was not her past achievements but her ongoing fight against overconsumption, indicated by her potential plan to condense her four fashion lines into two. When questioned about the initial obstacles in her career, given her working-class background and late entry into the industry without connections, she expressed not having given it much thought. She also rejected the 'feminist' label despite her prominence as a woman helming a fashion business. Her independence in a landscape dominated by conglomerates, she noted, was initially not a goal but a consequence of her inability to secure backing due to her avant-garde ideas. This independence, however, has afforded her complete control over her business, which she values, contrasting it with the pressures faced by designers working under corporate ownership. The exhibition, 'Dress Up Story — 1990 Until Now,' curated by André Leon Talley, spans the last 25 years of Westwood’s designs. It presents a fantastical exploration of her world through various tableaux that blend her creations with art and interior decor. The display features closely packed Old World portraits, towering wigs, striking makeup, and mannequins adorned with dog collars, swinging from chandeliers, and arranged around a state bed and fireplace. Talley described the aesthetic as a 'gluttonous potpourri,' drawing inspiration from British estate art displays and evoking a blend of Vita Sackville-West and Isabella Blow. The show highlights the balance of aristocracy and eccentricity, merging elements like whips and spikes with crinolines and corsets, referencing historical eras from Regency to Edwardiana. Talley emphasized the glamour and joy of Westwood's clothes, asserting their modernity and visionary quality. Westwood's deep knowledge of art history is evident in her ability to identify the inspirations behind her prints, such as a dress featuring a print inspired by Frans Hals's *The Laughing Cavalier*. She also expresses admiration for artists like Gainsborough, Boucher, and Boulle, attributing her understanding of historical costumes to her British heritage and a natural inclination for English tailoring. She avoids typical fashion industry gossip, instead focusing on global issues like Julian Assange, fracking, and political disappointments. Her strong sense of justice extends to seemingly minor details, such as the use of paper versus linen napkins or turning off lights to conserve energy. She advocates for conscious consumption, urging people to 'buy less, buy better quality,' and is even considering reducing her company's size to align with this philosophy. Despite her significant influence, Westwood often self-deprecates regarding her designs, frequently deferring to her husband, Andreas Kronthaler, who is actively involved in the design process. She acknowledges the distinct approach of male designers, whom she believes elevate women, contrasting it with her own practical perspective. Rejecting the concept of a 'role model,' Westwood maintains her punk ethos by challenging societal expectations, emphasizing that fashion is not a sacred entity. #VivienneWestwood #FashionDesign #PunkCulture #FashionExhibition #SCADMuseum #AndréLeonTalley #ClimateActivism #FashionHistory #DesignPhilosophy

Ikat patterns have gained immense popularity in both fashion and interior design, yet many consumers are largely unaware of the textile’s rich cultural origins. This article delves into the history and contemporary resurgence of ikat, particularly focusing on its Central Asian roots and its introduction to Western fashion by designers like Oscar de la Renta. The term ikat, derived from a Malay-Indonesian word meaning “to tie,” describes both the intricate resist-dyeing technique and the resulting fabrics and patterns. This labor-intensive process involves carefully resist-dyeing bundles of warp threads to create the design before weaving, a method distinct from other fabric production techniques where patterns are woven in. In the 19th century, Central Asian ikat production involved a sophisticated network of artisans, often organized along ethnic lines, with Tajiks handling red and yellow dyes, Jews managing indigo dyeing, and Uzbeks conceptualizing the patterns and undertaking the weaving. While the ikat technique developed in various parts of the world, Uzbekistan’s silk ikats became particularly renowned for their stunning quality. The origins of ikat in Central Asia, specifically in cities like Bukhara and Samarkand, in the early 19th century remain somewhat mysterious, as its sudden appearance was marked by a high level of sophistication, suggesting unknown precedents. The Smithsonian’s Arthur M. Sackler Gallery’s exhibition, “To Dye For: Ikats From Central Asia,” highlights this cultural journey by displaying a collection of Oscar de la Renta’s ikat-inspired pieces alongside historical Central Asian ikats. De la Renta, after being captivated by these textiles following the collapse of the Soviet Union in 1991, visited Uzbekistan and commissioned local weavers. He subsequently incorporated ikat motifs into numerous collections for both Balmain and his eponymous label, a move credited with popularizing the trend in Western fashion and home decor, seen in brands from Anthropologie to Target. The exhibition, which includes pieces from 1997 to 2013 on loan from de la Renta’s estate and about 30 historical Central Asian ikats donated by Guido Goldman, aims to educate visitors about the textile’s origins and cultural context. Goldman, a Swiss-born academic, amassed one of the world's most significant collections of ikats, including flat tapestries and ceremonial coats and robes. These historical garments, worn by both men and women, symbolized wealth and status in Bukhara and Samarkand. The exhibition thoughtfully juxtaposes de la Renta’s designs with 19th-century ikat coats, making the Central Asian pieces more accessible and emphasizing the shared luxurious and valuable nature of both contemporary and historical examples. The vintage Uzbek coats, cut in wide, loose styles reminiscent of Ottoman kaftans, are striking for their elaborate patterns and vibrant colors, often lined with Russian cotton or Indian chintz. A late 19th-century woman’s robe, for instance, showcases bold red, yellow, and white diamond shapes, stylized flowers, and zigzags on a black background, with a vibrant lining. De la Renta’s pieces, such as a robe from his fall/winter 2000 collection featuring pomegranate shapes, often referenced traditional Uzbek motifs like fruits, flowers, and geometric patterns. He sometimes used actual ikat fabric and at other times replicated its distinctive blurry effect through other techniques like embroidery. Beyond clothing, the exhibition also features noteworthy wall hangings. Flat Uzbek ikats served both decorative and functional purposes, such as insulating house walls or covering bedding. These were typically made from several narrow, loom-width lengths of material sewn together, creating an additional design element. An ikat from mid-19th-century Samarkand illustrates this with its cascading floral forms created by staggered fabric swaths. While Oscar de la Renta's designs played a crucial role in bringing ikat to global prominence, the exhibition subtly underscores the importance of acknowledging the cultural and historical origins behind this now-ubiquitous style. It serves as a reminder that many familiar contemporary designs have roots in diverse cultural traditions, and understanding these origins enriches our appreciation of the art form. #IkatFabric #TextileArt #CentralAsianCulture #FashionHistory #InteriorDesign #OscarDeLaRenta #SmithsonianSacklerGallery #CulturalAppreciation

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

The article explores the rich history and intricate artistry of Central Asian ikat textiles, currently featured in the Smithsonian exhibition “To Dye For.” Ikat, a fabric known for its vibrant colors and geometric patterns, has been a significant symbol of status and wealth among the seminomadic peoples of Central Asia throughout the 19th century. The exhibition, on view at the Arthur M. Sackler Gallery in Washington, D.C., showcases nearly 70 pieces of 19th-century ikat art, donated by private collector Guido Goldman. This donation marks 20 years since Goldman first introduced ikat to many Americans at the same venue, in what was the museum's inaugural textile show. Massumeh Farhad, chief curator of the Freer and Sackler Galleries, highlights that while the ikat technique, derived from an Indonesian word for “tie,” has roots in Indonesia, India, and Japan, it was in Central Asia, particularly Uzbekistan, where the craft reached its pinnacle of perfection. Farhad emphasizes the boldness and arresting quality of Central Asian ikats. The creation of an ikat design is a meticulous and time-consuming process, demanding a clear vision of the final color pattern before any weaving begins. The process involves soaking warp threads in a series of up to eight dye vats. Before each immersion, specific sections of the warp are strategically bound with dye-resistant greasy thread, exposing only the portions intended for coloring. By repeatedly repositioning these threads, textile makers gradually imbue the entire warp with a spectrum of tones. Highly skilled designers may subject parts of the material to multiple immersions to achieve blended colors, such as orange from red and yellow, or purple from red and blue. Once the multi-colored warp is prepared, it is stretched onto a loom and combined with a cotton or silk weft, resulting in a long, narrow textile featuring the designer’s repeating geometric pattern. These textiles are then fashioned into distinctive coats or used as two-dimensional wall hangings. A fascinating aspect of this collaborative process in Central Asia is the involvement of different ethnic groups at various stages. Farhad notes that Tajiks were responsible for yellow and red dyes, the Jewish community imported indigo, and Uzbeks handled the weaving, illustrating a complex, collaborative effort. The exhibition is structured to progressively display the increasing complexity and vibrancy of ikat designs. The initial gallery features simple wall hangings with limited colors, gradually leading to more intricate pieces suggesting a greater number of dye baths. The highlight of the show is a room dedicated to ikat coats, distinguished by their unique style and elaborate linings of Russian cotton and Indian chintz. Farhad explains that among the mobile Central Asian populations of the 19th century, clothing served as a critical status symbol, as wealth was often carried or worn. Ikat coats, therefore, were a direct representation of an individual's status and importance. The exhibition also explores the contemporary influence of ikat fashion, featuring works by designers like Oscar de la Renta. De la Renta, a prominent figure in haute couture, drew significant inspiration from ikat patterns, helping to popularize the aesthetic in America. His pieces, such as a 2005 trench coat and a 2013 floral gown, are displayed in the coat room. However, de la Renta's designs employed modern manufacturing techniques rather than the traditional ikat method, lacking the characteristic panel divisions often seen in historical ikat textiles. This modern adaptation has contributed to a global surge in ikat patterning, making it ubiquitous in contemporary home furnishings and products, from Crate & Barrel couches to Target items. “To Dye For” serves as an educational reminder of the arduous labor and artistic vision behind these widely recognized patterns, connecting the historical origins of ikat with its pervasive presence in modern design. A complementary exhibition, “Binding the Clouds,” is also on view at George Washington University’s Textile Museum. #Ikat #CentralAsianTextiles #TextileHistory #SmithsonianExhibition #ArthurMSacklerGallery #GuidoGoldman #MassumehFarhad #DyeingTechnique #OscarDeLaRenta

BekaertDeslee's U.S. showroom in Winston-Salem, North Carolina, showcases the company's approach to mattress ticking design, emphasizing the blend of artistry and technical expertise required in the field. The showroom features a wide array of fabric samples, ranging from classic whites and grays to vibrant aquas, purples, and charcoals, displayed against crisp white walls to enhance their visual impact. The space, adorned with natural light and potted plants, fosters both functionality and creativity, reflecting the company's design philosophy. Kara Pruitt, BekaertDeslee's lead designer, highlights the comprehensive nature of design, which extends beyond aesthetics to include manufacturability and scalability. Designers must consider trends, color, texture, and dimension while ensuring that each fabric can be mass-produced efficiently. The intricate process involves controlling thousands of needles in circular knitting to create millions of stitches for a single fabric design, a testament to the technical precision involved. The U.S. design team, a multinational group including Pruitt and led by Charlene Vaz, director of marketing and design for BekaertDeslee North America, collaborates with colleagues in Canada and Mexico to form the North American design unit. This diverse team brings a wealth of skills and aesthetic sensibilities, driving innovative ideas for clients. The design process for mattress ticking typically begins by aligning the fabric's value with the customer's vision and the mattress's market positioning. Ticking serves as a crucial element of 'package design,' communicating the mattress's characteristics—whether it offers cooling properties, moisture-wicking, or simply represents quality at an affordable price. Designers work closely with the new product introduction (NPI) team to select appropriate yarn types and fabric constructions, ensuring the design meets both aesthetic and functional requirements. Client collaborations vary, with some, like Kingsdown, seeking fashion-forward, bolder designs inspired by external fashion trends, often involving multiple collaborative sessions. Other clients prioritize commodity-driven solutions, requiring well-priced, durable fabrics for long-term use. This adaptability highlights the team's ability to cater to diverse customer needs. For general market offerings, the design team relies on extensive trend research, partnering with WGSN to identify key directions in color, pattern, and consumer preferences. Current trends indicate a preference for bold and unexpected fabrics, which Vaz attributes to a post-pandemic desire for energy, particularly among Gen Z consumers who represent the future home market. Artificial intelligence has emerged as a valuable tool in accelerating and diversifying fabric design. Designers use AI generators to create unique artwork, transforming initial concepts into larger, more colorful patterns, which helps overcome creative blocks and generates novel ideas. While AI provides a starting point, the design team emphasizes that it is a tool rather than a complete solution, requiring human input and refinement. An instance involved an AI-generated image of a teal and orange paisley mattress, which inspired new fabric collections displayed at industry events. Beyond design, BekaertDeslee prioritizes dependability and sustainability. The company has reduced sample turnaround times to two weeks or less and utilizes digital rendering software to explore design ideas efficiently, minimizing waste. Sustainability is a core mission, leveraging advanced European initiatives to offer recycled polyester and circular fabrics made from biodegradable yarns in North America. An example is a zipperless, mono-material cover (100% polyester) designed for easy disassembly and recycling at the end of the mattress's life, addressing a common recycling challenge associated with mixed-fiber fabrics. Designers also proactively integrate sustainability into future projects, offering clients recycled yarn options, even if they come with a slight upcharge. The design team also works with global supply sourcing and NPI teams to ensure competitive pricing and appropriate construction for various client needs. #BekaertDeslee #TextileDesign #MattressFabrics #Sustainability #DesignInnovation #AIinDesign #CircularEconomy #HomeFurnishings #ProductDevelopment

American artist, educator, and messenger Nick Cave has introduced a new collection of home fabrics and wallcoverings in collaboration with Knoll Textiles. This collection, which showcases Cave’s distinctive artistic vision, translates the essence of his renowned artworks into tangible textile forms. The collaboration is a significant milestone, marking Knoll Textiles' first partnership with an artist. It comes after a busy period for Cave, including a career-spanning survey exhibition titled 'Forothermore' at the Museum of Contemporary Art Chicago, which will later travel to the Guggenheim in New York. This exhibition features new additions to his iconic 'Soundsuits' series and rarely seen early works, emphasizing his commitment to creating spaces for marginalized communities. Cave's work consistently challenges traditional art boundaries, as evidenced by his monumental mosaics in Manhattan's subway stations—'Each One', 'Equal All', and the earlier 'Every One'—which collectively form his largest permanent public artwork to date. These mosaics, inspired by visual themes from his 'Soundsuits', demonstrate his dedication to public engagement and social commentary. The collaboration with Knoll Textiles emerged from this period of intense creative output, reflecting Cave's long-standing connection to textiles, tracing back to his graduate studies at Cranbrook Academy of Art where he was influenced by Knoll's historical designs and the Arts and Crafts movement. The Knoll Textiles collection, developed in close dialogue with Cave and his partner Bob Faust, features ten ambitious designs, including four upholsteries, three draperies, and three wallcoverings. Each design meticulously captures the dimension, color, and movement inherent in Cave's original pieces. For instance, the 'Until' drapery is an airy, web-like textile inspired by an installation of the same name, created by embroidering on a water-soluble ground. The 'Buttons' drapery is a photorealist digital print that mimics the hand-beaded buttons found in his 'Soundsuits', achieving an ombré effect. Another drapery, 'Heard', draws inspiration from a fringed 'Soundsuit', with individually sewn ribbons that echo Cave's handcrafted approach. The upholstery fabrics are equally innovative. 'Guise' combines knitted, space-dyed, and chenille yarns to replicate the intricate top layer of his beaded 'Soundsuits'. 'Vert' is a variegated design based on the 'Architectural Forest' installation, capturing the perfectly imperfect qualities often seen in his work. 'Puff' is a cozy faux shearling, available in 13 colors inspired by a rainbow fur 'Soundsuit'. The 'Doily' upholstery fabric utilizes two techniques to create a multidimensional effect, reflecting the tactile nature Cave desires in his creations. The wallcoverings include 'Wire', a digitally printed fur pattern; 'Forest', a vertically dynamic design also inspired by 'Architectural Forest'; and 'Big Floral', which recreates antique beaded flower patterns from a 'Soundsuit' on a larger scale. These wallcoverings are available in vibrant and grayscale tones, offering both aesthetic appeal and a tactile experience. Beyond their design, these textiles carry a profound significance, serving as representations of original artworks that advocate for social justice. Cave emphasizes the collective nature of his work, highlighting its purpose in fostering reflection, mourning, and finding calm amidst turmoil, ultimately striving for accountability and hope. #NickCave #KnollTextiles #TextileDesign #HomeFabrics #Wallcoverings #ArtCollaboration #Soundsuits #SocialJustice

Cool Hunting presents a comprehensive guide featuring an array of products for design enthusiasts and those looking to enhance their living spaces. This curated selection spans various categories, offering innovative and aesthetically pleasing items for personal use, home decor, and culinary pursuits. Each product is highlighted for its unique design, functionality, and often, its underlying story or ethical considerations. Among the offerings is the 'André Leon Talley: Style is Forever' book, a companion to the SCAD exhibition, which celebrates the influential fashion icon. This book delves into Talley's improbable journey and his profound impact on fashion, featuring his personal and professional life and his enduring connection to SCAD. It serves as a tribute to a figure whose knowledge of fashion was legendary, as famously noted by Diana Vreeland. For those seeking relaxation and alternative beverages, Psilly Goose Euphoria non-alcoholic plants and mushroom beverage is introduced. Available with or without a light dose of Delta-9 THC, this drink combines Lion's Mane and Kanna with a natural passion fruit, hibiscus, and mango flavor, offering a balanced and enjoyable alternative to traditional cocktails, perfect for Dry January or social occasions. The 'Space Hoodie' from MQuan, a collaboration with Pure Heart Studio, offers a comfortable and stylish apparel option. This faded black, loose-fit hoodie is adorned with celestial motifs and is the result of a long-standing dream and friendship, combining art and collaborative manifestation. Vans' Sk8-Hi Waterproof Insulated Shoe reimagines a classic sneaker for all weather conditions. Designed to keep feet warm and dry in cold, rain, and snow, these shoes incorporate recycled and regeneratively farmed rubber, making them a practical and environmentally conscious choice for navigating various elements. A limited-edition Brompton X Shantell Martin P Line 4-Speed Bicycle showcases a blend of functionality and artistic flair. This unique bicycle features distinctive pink and black livery, a hand-drawn Brompton logo, and an artist-designed saddle, offering improved weight and performance for serious bike commuters. For enhancing home ambiance, Call of the Valley's Frankincense Natural Hand Rolled Incense provides a complex aroma with citrus and wood notes. Discovered in Mumbai, this product reflects the brand's commitment to natural fragrances and beautifully made goods. Braun's Classic Analog Alarm Clock offers a modern interpretation of a Dieter Rams design, featuring a minimal aesthetic, easy-to-read display, and quiet movement. Its automatic backlight and choice of colors make it a functional and stylish addition to any bedroom. The Pebble Index 01 Voice Memo Ring presents a minimalist solution for capturing thoughts and reminders. This unassuming ring records voice memos and sends them to a user's notes app or calendar, designed for simplicity with no subscriptions, charging, or Wi-Fi required. Bruno Munari's 'Design and Visual Communication,' translated into English for the first time, invites readers to rethink visual communication. This book, a compilation of lecture notes and class materials from 1968, connects art, architecture, and daily life, offering fresh perspectives on design. Verloop's Mismatch House Socks provide colorful and cozy comfort with slip-resistant patches and a fleece lining, available in various styles and colors. Private White V.C.'s The Shadow Parka is a British-made down parka designed for ultimate protection. Featuring high-rated down, a waterproof Ventile shell, cashmere-lined pockets, and military-grade zippers, it represents a lifetime investment in quality outerwear. Samsung's "TV of the Month Club" is a limited-time bundle of five premium TVs and audio devices, designed to elevate home entertainment. This collection caters to various cultural moments throughout the year, offering cutting-edge technology and design flexibility. Twelve South's Curve Mini Tablet Stand offers a portable and adjustable solution for tablet viewing. Made from lightweight aluminum with precision hinges, it folds flat for transport and protects devices with padded surfaces. Bernal Cutlery's Prince Stainless Steel Pizza Cutter is a finely engineered tool for pizza enthusiasts. Developed in collaboration with Flour + Water pizzeria and crafted by Prince in Japan, it combines beauty with performance. Stickerbox introduces a kid-friendly creativity machine that transforms spoken ideas into instant stickers. This device encourages imaginative play through a tactile, mess-free experience with thermal-print paper rolls. Wonderstate's Single Origin Farm-Direct Coffee Beans represent a commitment to ethical sourcing and expert roasting. With 20 years of experience, Wonderstate offers a rotating selection of high-quality beans from various regions, each roasted to highlight its unique flavor profile. Mazzer's Philos Coffee Grinder is a compact, single-dose flat-burr grinder for precision-focused coffee lovers. Engineered from dense metal, it delivers clean extractions for both espresso and filter coffee, suitable for any design-conscious countertop. Moismont's Shopping Bag No. 46 is a hand-woven cotton tote from India, offering a classic and chic everyday carry solution with multiple pockets. Pretty Snake's Argyle Kitty Socks feature a playful design with cats layered over an argyle pattern, available in various colors and lengths, made from combed cotton. Satisfy’s The Rocker running shoe offers high-performance design for runners transitioning between pavement and trail. It combines a breathable Rippy™ 66 monomesh upper with a Euforia™ super-foam midsole and a Vibram® TuneLug™ Megagrip outsole for stability and traction. Gantri's Baltra Table Light, designed by Kickie Chudikova, is a compact yet impactful lighting solution. Made from plant-based polymers and water-based paint, it provides dimmable light and makes a subtle statement. Roka’s Wind Down Glasses are designed to reduce exposure to blue light, promoting better sleep by filtering out short-wavelength green and blue light emitted by screens. These glasses are a practical solution for screen users who struggle with sleep. Armand de Brignac’s La Collection features six of the brand’s acclaimed Champagne releases, including the Blanc de Noirs Assemblage No. 4. This limited-edition set is an indulgent gift for collectors and connoisseurs. Discommon's The (Golf) Divot Tool offers a precisely machined single-prong divot tool with a removable ball marker, favored by greenskeepers for its minimal impact on grass roots. It exemplifies thoughtful design and engineering for golfers. HOSH's Black Mesa Blanket, inspired by mesas near the Hopi Reservation, is knit from washable Japanese wool. Created by artist DY Begay, it reflects the beauty of sunrises and sunsets, offered through an online platform for Native American artists. Lind's Ventana Redwood Surfboard is a collaboration combining an electric surfboard cartridge with a handcrafted wood surround. The board features repurposed wood from the historic Western Flyer, offering a unique blend of technology, artistry, and historical significance. #DesignDesires #Nesting #HomeDecor #Fashion #Gifts #CoffeeCulture #Technology #OutdoorGear #Artistry

Dezeen Showroom has unveiled 14 new products this week, featuring a diverse range of furniture, lighting, and finishes for both commercial and residential projects. Among the highlights is the "Technicolour" textile collection by graphic designer Peter Saville for Danish brand Kvadrat. This collection draws inspiration from the colorful sprays used by farmers to mark sheep, translating this rustic aesthetic into a series of vibrant handwoven and robot-tufted rugs with color spots, iridescent curtains, and upholstery made from British sheep's wool. Saville describes the collection as bringing "the industry of the land, in raw form, into the living environment," likening it to "rural graffiti." Other notable product additions include the "Mouro" lamp, designed by Patricia Perez for Case Furniture. This portable and rechargeable table lamp, suitable for indoor and outdoor use, features a disc-shaped LED light that rotates 360 degrees, enclosed within a rectangular frame that doubles as a handle. Rainlight's "Phlox" collection for Okamura offers a comprehensive range of seating and tables, including conference chairs, lounge chairs, high stools, and five table shapes. The collection, characterized by its gently undulating silhouettes, is inspired by the petals of the night-blooming phlox flower. For storage solutions, Bruno Rainaldi's "Ptolomeo" bookshelf for Opinion Ciatti is designed to emulate the appearance of books stacked in high piles while providing structural stability. Named after the founder of the Library of Alexandria, this stainless steel shelf is available in black, white, or Corten effect lacquered finishes. Dedar introduces two new textile collections: "The Art of Jacquard" and a "Textile wall covering collection." The Jacquard collection features ultra-thin yarns woven directly into the fabric to create rich patterns, including tropical bird motifs, nature-inspired designs, bold graphics, and abstract floral landscapes. The wall covering collection, inspired by grand tapestries, includes four patterns, such as screen-printed illustrations on linen and classic weaves of jute and linen, aimed at creating a cozy atmosphere. The "Hymn" lamp by Hiroto Yoshizoe for Ambientec is another portable and durable lighting option for indoor and outdoor settings. It employs two magnets to create constant oscillations, producing a flickering effect reminiscent of a candle flame. GamFratesi's "Beetle Chair," available through Suite NY, has been re-released with four new upholstery options in neutral shades, alongside black or brass leg finishes. John Pawson's "Frame" dining table for Nikari, originally designed for his own farmhouse, is a minimalist piece made from responsibly sourced ash or oak wood with a natural oil finish, boasting a lifespan of over 100 years. Alegre Design's "Talent" desk for Actiu is a versatile, mobile, and height-adjustable workstation designed for educational and training environments, featuring a dry-erase worktop that functions as a whiteboard when folded. Finishes also see new additions with CDUK's expanded "Corian Solid Surface" range, now available in a broader spectrum of neutral and warm colors. This material is lauded for its hygienic, durable, abrasion-resistant, and fade-proof qualities, making it suitable for both commercial and residential applications. Forbo Flooring Systems introduces "Marmoleum Linear," a carbon-neutral, plant-based linoleum flooring made from linseed oil, waste wood flour, and jute, designed to mimic wood with irregular grey and neutral stripes. ADEX presents the "Habitat" tile collection, a sustainable ceramic option for interior walls made with 55 percent white-body ceramics for enhanced durability. Lastly, Decocer's "Crag" tiles offer a family of porcelain tiles that replicate the look of stone and weathered steel, suitable for indoor and outdoor walls and floors, characterized by an industrial aesthetic and textured matte finish. #ProductLaunch #InteriorDesign #FurnitureDesign #TextileDesign #LightingDesign #SustainableMaterials #DesignInnovation #HomeDecor #WorkplaceSolutions

Athena Calderone, a well-regarded visual storyteller and designer, shares insights into how her personal aesthetic influences both her fashion choices and home decor. Her overall style is characterized by a clean, modernist approach combined with a deep respect for classic and timeless details. In terms of interior design, Calderone advocates for an eclectic mix of vintage and found objects, emphasizing that these items, collected over time, tell stories and reflect personal journeys. She values the legacy of antique pieces, giving them new life and incorporating them into her spaces to add narrative, history, and personality. She believes that, much like one's home, fashion is a deeply personal expression of vision, style, and dynamic self, allowing individuals to convey their most authentic selves. Her husband, Victor, a techno DJ, maintains a minimalist aesthetic, primarily wearing black and favoring narrow silhouettes, slim-cut blazers, and pronounced lapels. His focus is on fit and luxurious, tactile materials, with subtle accessories like a gold watch providing a touch of distinction. In contrast, Athena describes her own fashion sense as more adventurous, playing with romanticism, sophistication, and a touch of edge. This contrast in their personal styles highlights how individual preferences manifest differently. Calderone's personal style directly translates into the design of her Greek Revival townhouse in Cobble Hill, Brooklyn. She intentionally curated the home with 99 percent vintage and antique pieces from the 1930s–1970s, predominantly Italian and French. This approach allowed her to blend classic elements that have endured through time with items she could personalize through reupholstery, such as her 1970s Italian Mario Bellini sofa. The sofa's low, loungy profile and plush nude velvet upholstery contribute to a balanced retro yet elevated ambiance. For the architectural aspect of her home, she made the unconventional choice to open up the parlor floor, contrasting with the typical compartmentalized layout of townhouses. Simultaneously, she preserved traditional elements like Greek Revival crown molding, wall paneling, a grand gilt mirror, and a striking black and gold marble fireplace within an otherwise all-white space. Personal touches, such as an elegant green marble head from her childhood, infuse the space with family history and personality. Calderone also uses layering of materials and varying sizes to create visual dynamism within her home. An example is the arrangement of a rustic wood column and an ancient marble fluted pillar in her living room, demonstrating how playing with scale, shape, and placement in decor mirrors accessorizing in fashion. She views both design and fashion as forms of self-expression, where individuals interpret and reflect the world through their unique intuition. She embraces the idea of creating thought-provoking tension by juxtaposing extremes, whether in a highly feminine dress paired with bold boots or a romantic gown contrasted with rugged jewelry. This deliberate interplay of elements is what she believes makes both a space and an outfit smart, intriguing, and balanced, captivating the observer and encouraging contemplation. #AthenaCalderone #HomeDesign #FashionStyle #InteriorDecor #VintageFurniture #EclecticDesign #BrooklynTownhouse #PersonalAesthetic #GucciFashion

This article from the Levi Strauss & Co. Unzipped blog commemorates the 30th Anniversary of the Dockers® brand by highlighting a significant historical innovation: the introduction of Go Khaki with Stain Defender in 2001. The article underscores Levi Strauss & Co.'s longstanding commitment to technological advancement in fashion, tracing it from the invention of the blue jean to contemporary innovations at the Eureka Innovation Lab. Go Khaki with Stain Defender represented a revolutionary step in casual wear through its integration of nanotechnology. This cutting-edge technology involved treating fabric at a molecular level, creating an invisible defense against liquid spills. The manufacturing process entailed chemicals in the nanotechnology forming a molecular bond with the cotton fibers, resulting in high-tech microfibers capable of resisting liquid mishaps. This innovation aimed to provide consumers with durable and easy-to-maintain clothing suitable for the demands of the new millennium. The article emphasizes that despite the advanced technology, the Go Khakis maintained the comfort and ease synonymous with the Dockers® brand since its inception in 1986. Dockers® has consistently aimed to provide men with reliable garments for various aspects of their lives, and the nanotechnology-enhanced khakis were no exception, offering both functionality and style. Tracey Panek, the Historian for Levi Strauss & Co., authored the piece. Her role involves managing the company's Archives, answering historical inquiries, and assisting various departments, including designers, brand managers, and executives, with historical materials. Panek's background includes 14 years as Historian and Archivist at AAA Northern California, Nevada & Utah, and an earlier career start at AirTouch Communications, which launched cellular service at the 1984 Los Angeles Olympics. The featured innovation of Go Khakis with Stain Defender is presented as an example of Levi Strauss & Co.'s continuous effort to meet consumer needs by providing clothing that enhances daily life. This historical retrospective serves as a testament to the company's legacy of pioneering textile technology and its ongoing pursuit of innovation in the apparel industry. #DockersExhibit #Dockers #Khakis #Nanotechnology #Heritage #TraceyPanek #FashionInnovation

The article pays tribute to the pioneering fashion editor André Leon Talley, who passed away at 73. It revisits a 2013 interview where Talley shared his insights into interiors and provided advice on living a fabulous life. While widely recognized for his contributions to fashion, including his front-row presence, eloquent speech, and distinctive caftans, Talley harbored a profound passion for interior decorating. Talley's fascination with interiors originated in his childhood in Durham, North Carolina, particularly after witnessing Jackie Kennedy's televised White House tour in 1962. This event introduced him to the world of fine linens, specifically Porthault, and ignited his appreciation for antiques and high-quality furnishings, a passion he maintained throughout his life, including owning Porthault linens. In the 2013 interview, conducted by ELLE DECOR executive editor Ingrid Abramovitch, Talley discussed his decorative tastes and memorable experiences. He characterized conversations about fashion or decorating as being filled with superlatives such as “Marvelous! Extraordinary! Over-the-top!” He recounted visiting São Schlumberger’s unforgettable 18th-century Parisian townhouses, which featured stainless steel library floors, tortoise-shell-inlaid walls, and a disco with a lit-up floor in the basement. Talley also praised Karl Lagerfeld’s decorating prowess, mentioning Lagerfeld’s former Paris mansion, adorned with 18th-century furniture and rugs from Versailles, and his more contemporary flat featuring Sue et Mare furniture and modernist sofas. He also shared his experiences with elegant entertaining, highlighting Oscar and Annette de la Renta’s impeccable dinner parties, where every detail, from flowers and food to porcelain and silver, was perfect. He noted the welcoming scent of simmering apples, cinnamon, and spices at their Connecticut home. Surprisingly, Talley also lauded Whoopi Goldberg as an exceptional hostess, describing her china cabinet as unparalleled and her Christmas and Thanksgiving gatherings as visual feasts. Regarding his work with *Numéro Russia* magazine, Talley spoke of its creative freedom. His first cover story featured Naomi Campbell, who, with her then-boyfriend Vladislav Doronin, commissioned a Zaha Hadid-designed house outside Moscow that resembled something from *The Jetsons*, with its main bedroom situated high like a moon launch pad. He also expressed admiration for the humble yet beautiful onion-dome churches found in Russian villages. Talley found solace and balance after moving from New York City to White Plains, New York, seeking the tranquility of trees and birds reminiscent of his North Carolina childhood. He recalled his grandmother’s home, where wealth was measured in love, church, and family, and remembered scrubbing the porch, which was kept so clean it reflected one’s image. His bed, a black ebonized four-poster designed by Oscar de la Renta, was his most cherished possession, dressed in luxuriously priced D. Porthault sheets, embodying his belief that a well-dressed bed is the ultimate daily luxury. He maintained a guest room but rarely allowed guests to stay, desiring perfection for visitors but lacking the time to prepare it. For splurges, Talley suggested Manolo Blahnik shoes to enhance a little black dress and a Calvin Klein cabled Hampton alpaca-and-cashmere throw for the home. He also noted his fondness for homes featured in classic Hollywood films, such as the chintz room in *The Philadelphia Story* and Jean Harlow’s boudoir in *Dinner at Eight*, while cautioning against becoming a “victim of your rooms,” citing *Harriet Craig* with Joan Crawford as an example of being trapped by excessive fabulousness. #AndréLeonTalley #FashionEditor #InteriorDesign #LuxuryLiving #HomeDecor #CelebrityHomes #FashionIcon #DesignPhilosophy #PersonalStyle

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

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