Designer Mary Ratcliffe Goes Against the (Wood) Grain

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

Paris-based artist Aurélie Hoegy creates dynamic rattan sculptures that seamlessly blend movement, material, and environment, reminiscent of ocean waves. Her series, *Wild Fibers*, showcases her ability to harness the strength and malleability of rattan, fostering a dialogue between artistic gesture and the physical object. Hoegy's lifelong fascination with rattan stems from her upbringing in a tropical rainforest, a fascination reignited during a residency in Bali. There, she reconnected with the fiber's unique qualities and delved into its historical significance, learning from local artisans. She was particularly captivated by the artisans' holistic approach to working with rattan, describing it as a dance involving their entire body, including their feet. Hoegy recognized the profound cultural heritage embodied in their craftsmanship and their dedication to preserving this knowledge, which they believe is under threat. Each piece, whether a chaise, sofa, or chair, begins with the creation of 3D-printed models. Hoegy approaches this initial phase with a deep consideration for the material's inherent integrity, acknowledging both the natural and mechanical reactions of the fiber. She describes her process as a collaborative effort with the material, allowing it to "live and express itself." This philosophy results in sumptuous, undulating forms that vividly document the symbiotic relationship between the artist's body and the medium. The sculptures not only embody artistic expression but also demonstrate a sophisticated understanding of material properties and traditional craftsmanship. Hoegy's work exists in a liminal space between functional interior design and pure sculpture, blurring the lines between art and utility. Her pieces challenge conventional notions of furniture by elevating them to sculptural forms, while simultaneously retaining their inherent functionality. This duality allows her creations to be appreciated both as aesthetic objects and as elements within a living space. The *Wild Fibers* collection exemplifies how traditional materials and techniques can be reinterpreted through a contemporary artistic lens, creating pieces that are both visually striking and conceptually rich. Her upcoming exhibitions in Texas and Mexico signal a busy and promising year for the artist, indicating growing recognition for her unique artistic vision. Her artistic journey highlights the importance of respecting and learning from traditional crafts, while also pushing the boundaries of material exploration and design. Hoegy's ability to imbue rattan, a seemingly simple material, with such dynamic and emotive qualities, underscores her mastery and profound connection to her chosen medium. #AurélieHoegy #RattanSculpture #WildFibers #InteriorDesign #ContemporaryArt #MaterialExploration #Craftsmanship #FurnitureArt

Martha Stewart has unveiled a new paint collection in collaboration with Fine Paints of Europe, featuring 40 nature-inspired wall paint colors. This partnership marks a return to the brands' previous collaborations, which began in 1994 and became highly regarded among design enthusiasts and DIYers. The new collection offers four finishes—flat, matte, satin, and brilliant—and is available for purchase on the Martha Stewart storefront on Amazon. The line includes reissues of popular shades from Stewart's original collections, such as Araucana Blue, which was inspired by the eggshells of her favorite chicken breed, the Araucana. Other returning favorites include Glass of Milk, a warm, pink-tinted white, and Sharkey Gray, a versatile greige named after Stewart’s associate, Kevin Sharkey. These reissued colors aim to bring back the beloved aesthetic of her past paint offerings. The collection is organized into three distinct color categories: warm, cool, and neutral. The warm palette is designed to evoke a cozy and inviting atmosphere, making spaces feel more comfortable and welcoming. The cool colors are intended to impart a sense of sophistication and calm, contributing to a serene and refined interior. The neutral range focuses on creating balance and subtle elegance, serving as foundational elements that can complement various design schemes. Martha Stewart emphasized that the collection was curated to be both functional and appealing, reflecting her philosophy that a home should cater to both practical needs and aesthetic desires. Stewart expressed her hope that this new collection will inspire consumers' next home projects, highlighting that paint serves as the fundamental element in a well-designed space. She noted that choosing the perfect core design elements, with paint being the foundation, brings the entire interior together harmoniously. Although the paints are priced at $125 for less than a gallon, the article suggests that the rich pigmentation and luxurious finishes may justify the cost. The original Fine Paints of Europe collections were renowned for their silky texture and high quality, setting a precedent for the current offering. This launch signifies Stewart's continued influence in home design and her commitment to providing high-quality products that enable individuals to transform their living spaces. The collaboration leverages the established reputation of Fine Paints of Europe for premium paint formulations and Stewart’s discerning eye for color and design. The collection's nature-inspired theme underscores a timeless approach to interior aesthetics, encouraging the creation of environments that feel organic and harmonious. The availability of these paints across various finishes allows for versatility in application, catering to different design preferences and functional requirements within a home. The article also mentions ongoing plans to test the paints and provide further feedback, indicating an interest in evaluating their performance and confirming the quality associated with both Martha Stewart and Fine Paints of Europe. The high price point suggests that these paints are positioned as a premium product, targeting consumers who prioritize durability, richness of color, and a sophisticated finish. The reintroduction of classic shades from Stewart’s past collections aims to appeal to a loyal fan base while also attracting new customers seeking trusted and aesthetically pleasing paint solutions for their homes. Ultimately, the collection is presented as an opportunity for homeowners to elevate their interiors with colors that are thoughtfully curated and inspired by the natural world. #MarthaStewart #PaintCollection #HomeDesign #InteriorDecor #FinePaintsOfEurope #HomeMakeover #DesignInspiration #WallPaintColors #DIYHome

Brittany Hakimfar, the founder of Philadelphia's Far Studio, emphasizes the importance of natural materials and tactile textures in her interior designs, allowing them to take center stage. Her design philosophy centers on the inherent sophistication of organic elements, which she believes always shine through in an arrangement. For her current flat lay, Hakimfar drew inspiration from richly veined marbles, specifically Calacatta Viola with its lavender hues and Nero Marquina with its bold black-and-white patterns. These marble selections guided her choice of fabrics and finishes, resulting in a cohesive and visually captivating scheme. The final palette, as described by Hakimfar, exudes organic refinement with a touch of glamour. She incorporates eye-catching all-natural pieces, such as honey-hued zellige tile and dark brass counter stools, to celebrate nature's raw beauty. Key elements in her design breakdown include vintage black beads, which infuse an eclectic vibe, and Brinjal paint by Farrow & Ball, chosen for its rich, deep purple hue that acts as a statement color and creates a special mood when used in a lacquered finish for cabinetry. Hakimfar frequently uses one-of-a-kind ceramic pieces and found objects, such as vintage ceramic dishes and bud vases, to add unique qualities to spaces. For custom wood furniture, she relies on Faithful Roots, praising their craftsmanship and natural oak finishes, which she notes can be seamlessly mixed with marble. Brizo's Brilliance finish in Luxe Gold is her preferred choice for subtle brass, as it lacks yellow undertones and complements various wood tones and marbles. For custom stools, Thomas Hayes Studio's dark patina brass finish is favored for its ability to blend with her interiors. Fabric selections play a crucial role in adding texture and color. Verellen's Nevada fabric in Emerald mohair is highlighted for its perfect color and texture. Donghia at Kravet's Covet fabric in Bordeaux velvet was used to complement the Calacatta Viola veins of a marble fireplace, offering a luxurious and soft feel. Jiun Ho's Linyati fabric in Lion velvet adds interest and shine, particularly when used for pillows. For tiling, Riad Tile's zellige tiles in Honey and Forest Green are appreciated for their beautiful mustard tones and unique, natural, handmade quality. Marble selections from Stone Tech Fabrication include Calacatta Viola for its dramatic swirling veining and grounded natural materiality, and Nero Marquina for its subtle yet dramatic mix, often used for book-matched applications. Marble Systems' Chester Plaid marble mosaic in Britannia Light, Snow White, and Black Honed is destined for a bathroom project, promising a mix of pattern and neutral colors. François & Co.'s natural limestone in Paris Grey is anticipated to add texture and a timeless feel to upcoming kitchen projects. Wallcoverings include Phillip Jeffries' vinyl plastered wallcovering in Fresca, which mimics a textured plaster look, and vinyl abaca wallcovering in Fern, chosen for its texture and color. Phillip Jeffries' Venetian plaster wallcoverings in Espresso Brown are noted for their moody vibe and realistic resemblance to authentic plaster. Finally, Sacco Carpet's Thisby rug in Ivory offers luxurious texture in a neutral tone, grounding spaces like primary bedrooms, while Stout Textiles' Emory fabric in Toast is used for window treatments due to its sheer texture and neutral colors. Vintage zen stones are also incorporated as simple, sculptural, and tactile styling elements. #InteriorDesign #NaturalMaterials #BrittanyHakimfar #FarStudio #Marble #TextileDesign #HomeDecor #DesignInspiration #LuxuryInteriors

This article introduces Rashelle Campbell, a multidisciplinary designer and artist, who shares her journey from conceptualizing her rug tufting business during the pandemic to establishing a successful brand. The inspiration for her business originated from a personal search for unique, asymmetrical, colorful, and groovy rugs for her own home, which she found unavailable in the market. This led her to decide to create one herself, purchasing a tufting gun and beginning to design. After creating her first rug and sharing it online, she received significant positive feedback, leading to numerous custom rug requests within the first two months. Six months into her venture, she collaborated with her first retailer and launched her inaugural full rug collection, which sold out on the first day. This organic growth and demand prompted her to develop a website with an online store, solidifying her brand's professional presence and commitment. Rashelle Campbell identifies as Nehiyaw Iskwew (Cree) and is based in Amiskwaciy-wâskahikan, Edmonton, Alberta, Canada, residing on Treaty 6 territory. Her artistic philosophy centers on playfulness, embracing imperfections, and a vibrant use of colors. Before founding her brand, she gained experience as a publicist and freelance photographer, which she credits for enhancing her current skill set as a business owner and artist. Her brand, simply named "Rashelle," is conceived as a boundless creative space, unrestricted by conventional design rules or specific categories. Initially focusing on rugs for home interiors, her brand has expanded to include glassware, accessories, and clothing. She emphasizes that her creative work is not limited to a single medium, allowing her to continuously produce pieces that reflect her current interests and inspirations. The services she provides include custom rug orders, which she finds particularly fulfilling as it allows her to design and produce unique items tailored to clients' display preferences. She also releases small, distinct collections of rugs, accessories, and clothing. All items are either handmade by her or through collaboration, with a focus on limited production quantities to avoid overproduction. She differentiates herself by being among the pioneering tufters to establish a brand, offering unique designs that evoke youth, childhood nostalgia, and Y2K memories. Her work is characterized by the love and happiness infused into each piece, driven by a desire to spread joy and authentically represent herself as an Indigenous woman who enjoys creating "wacky fun things," rather than being primarily motivated by financial gain or exposure. Rashelle expresses pride in her resilience, particularly in facing attempts by others to copy her designs. She advocates for trusting the creative process and maintaining momentum, advising against overthinking, which can foster fear. Instead, she encourages artists to keep moving forward, reminding themselves of their core motivations to overcome challenges. She also discusses her strategy for building a social media audience, which involved a giveaway linked to her first collection launch, requiring followers to like and comment to enter. She views giveaways as an effective way to expand reach and engage the community, while also providing an opportunity for individuals who might not otherwise afford her pieces to own them, aligning with her value of giving back. As an Indigenous woman, she perceives the act of sharing her work as an everyday act of resilience, drawing inspiration from the Indigenous women in her life and prioritizing Indigenous joy. Her journey, the support she has received, and her access to resources for creation are all testaments to her resilience. She highlights the significance of her presence as an Indigenous woman representing creative Indigenous women and using her voice, considering it a success in itself. #RashelleCampbell #MultidisciplinaryArtist #RugTufting #IndigenousArtist #CreativeEntrepreneurship #HomeDecor #SmallBusiness #Y2KAesthetic #SocialMediaGrowth

Finnish designer Hanna Anonen introduces her new Bouclé Collection, a series of modular wall hangers that reinterprets the tactile qualities of bouclé fabric using solid walnut and painted wood. This collection blends functional design with wall art, aiming to serve as both a practical coat rack and a decorative element in various settings. Anonen's intention was to create an object that encourages interaction with living spaces, suitable for entryways, hallways, public areas, and bedrooms. The Bouclé Collection is characterized by its lattice structure crafted from rich walnut, which is intersected by painted circular "knots." These circular elements are a clever design choice, referencing the texture and rhythmic pattern found in traditional bouclé textiles. The circular knots also serve as functional hanging points, forming a distinct polka-dot like pattern that is visually graphic yet harmonious. The design allows for scalability in size and layout, making the pieces adaptable to different spatial requirements and design aesthetics. Each piece in the collection is available in four sizes, providing versatility for integration into diverse interiors. The use of wood to mimic a fabric texture is a central theme, transforming the soft, looped appearance of bouclé into a hard, sculptural form. This design approach highlights the designer's ability to translate material properties across different mediums, offering a unique take on familiar textures in a new context. Hanna Anonen debuted the Bouclé Collection at Launch Pad by WantedDesign earlier this year. This presentation was supported by several organizations, including the Finnish Cultural Foundation, the Finnish Cultural Institute in New York, and the New York State Council on the Arts (NYSCA). These supports underscore the cultural and artistic significance of Anonen's work within the design community. The collection is not merely functional but also carries an artistic dimension, as emphasized by Anonen. It invites viewers to appreciate the subtle design cues and the reimagination of a textile texture in timber. The visual impact of the pieces, with their precise forms and material contrasts, makes them stand out as both utility items and contemporary art installations. The Bouclé Collection offers a sophisticated and playful addition to modern interiors, demonstrating how material reinterpretation can create innovative and engaging design solutions. #HannaAnonen #BoucléCollection #WallHooks #FinnishDesign #ModularDesign #WoodFurniture #TextileInspired #InteriorDesign #HomeDecor

Roc H Biel, a designer and Royal College of Art alumnus, has created a sculptural furniture collection named "Dust Order," which redefines sustainability by utilizing wood dust, typically considered a waste product. The collection transforms this fine offcut material into monumental forms, drawing inspiration from classical columns and challenging traditional perceptions of weight and material. The design aims to evoke a sense of ancient history while maintaining a modern and otherworldly aesthetic. The "Dust Order" series comprises two primary objects: a sculptural chair and a modular desk system. Both pieces showcase the unique, granular texture of compacted wood dust, reminiscent of raw stone or sand casting, yet they possess a surprising lightness. Biel's approach reinterprets classical motifs through a contemporary lens, creating pieces that feel both familiar and futuristic, aiming to generate a moment of wonder where material, memory, and perception converge. The sculptural chair in the collection is constructed entirely from compacted beech wood dust. Its design features negative space that creates a visual rhythm, and its geometric profiles transition from octagon to circle to square, giving a modern edge to the classical column silhouette. The chair's surface texture belies its unexpected lightness, making it a conversation piece that challenges expectations of its composition. The modular desk system offers versatility and functionality. It consists of three 3D-printed components made from a bonded mixture of magnesium and beech wood dust. These components are designed to represent the classic elements of columns—shaft, capital, and entablature—but are reimagined for contemporary use. The modular nature allows for various configurations, transforming the desk into a stool, a bench, a bench with a side table, or a dining table. This adaptability is paired with a grainy texture that evokes compacted earth or pressed sediment, connecting its modern function with ancient materials. Biel's work in "Dust Order" highlights intentional contrasts: between weight and weightlessness, waste and refinement, and earth and atmosphere. The project serves as an example of how unconventional materials can be elevated into sophisticated design, proving that surrealism can manifest in powerful physical forms beyond digital realms. The designer's innovative use of wood dust not only promotes sustainability but also challenges the aesthetic and tactile expectations of furniture, transforming discarded material into objects of artistic and functional value. #FurnitureDesign #SustainableDesign #WoodDust #SculpturalFurniture #ModularFurniture #ClassicalModernFusion #MaterialInnovation #RocHBiel

The article discusses the emerging trend of colored quartzite countertops as a departure from the long-standing popularity of all-white kitchens and marble. As color trends in home decor shift towards darker, more moody shades, countertops are following suit, with colored quartzite offering a bold and luxurious alternative. This natural stone, described as resembling agate crystal, is presented as a statement-making choice for kitchens, dining rooms, and bathrooms. Several factors contribute to the rise of this trend. Firstly, there's a growing interest in quartzite in general due to its natural stone aesthetic combined with low maintenance requirements, similar to man-made quartz. Nancy Epstein, founder and president of Artistic Tile, highlights that quartzite is a quartz-rich sandstone that undergoes recrystallization through heat, pressure, and chemical reactions, making it highly scratch and heat-resistant. This inherent durability appeals to homeowners seeking practical yet elegant solutions. Secondly, the desire for more durable, yet still chic, alternatives to marble has led to a broader availability of options. The article suggests that the ubiquity of white kitchens eventually led to a desire for change, prompting homeowners to explore colorful cabinets and, consequently, reconsider their countertop choices. The shift away from conventional white and vein-free surfaces indicates a move towards more personalized and expressive interiors. Epstein further explains that with people spending more time at home, the deep colors and engaging appearance of natural materials like quartzite can enrich living spaces and provide a sense of escape. For those who do not align with the 'cottagecore' aesthetic but still want their home to feel like a retreat, a vibrant quartzite, potentially paired with dark-hued cabinets or used as a striking dining room table, offers a compelling option. Colored quartzite is available in a wide spectrum of colors, including ocean-inspired blues such as Azul Bochira, vibrant emeralds reminiscent of 'Wizard of Oz,' and intricate combinations of orange, green, and gray. Its versatility extends beyond traditional kitchen and dining room applications; it can be used for bathroom walls, as a backsplash, or even for outdoor flooring. Epstein herself has quartzite floors in her pergola, attesting to its flawless performance and durability even in outdoor environments. She emphasizes its suitability for adding color to high-traffic areas due to its robust nature. The article concludes by suggesting that 2021 might be the year for homeowners to embrace bolder choices in home renovation, moving away from predictable designs and opting for materials that offer both visual impact and long-lasting quality. #HomeDecor #CountertopTrends #Quartzite #InteriorDesign #KitchenRenovation #NaturalStone #DesignTrends #HomeRenovation

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

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

Ilse Crawford has launched a new collection of five rugs, named Grönska, for the Swedish textile company Kasthall. The collection, which debuted during Milan Design Week, draws inspiration from the natural landscape surrounding Kasthall's factory in Kinna, Sweden. Crawford, a London-based designer, aimed to incorporate more greenery into interior spaces through these designs. Each of the five rugs in the Grönska collection utilizes distinct weaving and tufting techniques, reflecting the changing seasons and diverse natural formations of the Swedish environment. Crawford emphasized that the collection's colors and textures are derived from typologies like meadows, glades, furrows, farmlands, and vegetable patches, translated into abstract and accessible designs for homes and public areas. She highlighted the positive impact of green hues on health and the perception of naturalness they bring to interiors. To capture the nuanced beauty of the natural world, Crawford intentionally avoided single block colors, instead experimenting with various combinations to achieve the depth and complexity observed across different landscapes and throughout the year. The collection includes Åker, a rug featuring horizontal block stripes with varying textures and tufts, such as cut and loop pile and bouclé pile, made from a blend of linen, wool, and mélange yarns. This design conceptualizes the textures and colors found in the farmlands surrounding the Kasthall factory. The Täppa rug, crafted from wool and linen, showcases a tufted, striped pattern. Its soft and tactile surface is achieved through a combination of cut and loop pile techniques, with natural linen incorporated to soften the color blocks. The Ång woven rug features thin lines of white-haired yarn and light green stripes, while Glänta presents a plain color interspersed with light flecks. Crawford explained that the Ång rug's depth and complexity result from over-dyeing natural mélange hair yarn, combined with chenille lines to create a thin flat weave, a novel category for Kasthall. The Fåra rug is characterized by irregular stitching that exposes a white wool base, utilizing a newly developed bouclé yarn made of pure wool for its distinctive irregular quality. With the exception of Åker, which will be produced in a limited edition of 50 rugs, all designs within the Grönska collection are set to become a permanent part of Kasthall's product range. The collection was exhibited at the Salone del Mobile furniture fair as part of Milan Design Week, alongside other notable installations and exhibitions. #IlseCrawford #Kasthall #RugDesign #MilanDesignWeek #TextileDesign #InteriorDesign #HomewareDesign #SwedishLandscape #NaturalMaterials

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

The article explores the enduring relevance of Martha Stewart's 1990s Manhattan home office, highlighting its pioneering adoption of the 'wood-drenching' interior design trend. This Scandinavian-inspired workspace, characterized by an all-wood aesthetic, features walnut shelves seamlessly transitioning into a compact desk, complemented by a woven chair. This design choice created a cozy, warm, and chic environment that is easily replicable in contemporary settings. The concept of "wood-drenching" is presented as a potential successor to color-drenching in interior design for 2026. The article points out that while wood is a common material in home offices, the monochromatic approach seen in Stewart's design was ahead of its time. The integration of various wooden elements, from furniture to shelving, creates a cohesive and inviting atmosphere. To help readers recreate this aesthetic, the article suggests specific products, including a midcentury-inspired Latwon Wooden Desk, an Alistaire Rattan Dining Chair with cane paneled armrests, and a large Handmade Wood Decorative Bowl. These items are chosen to reflect the natural, warm, and sophisticated feel of Stewart's office. Anthony Scott, global production and innovation director at Havwoods, emphasizes the versatility and comfort of wood as a material. He notes its organic beauty, rustic tones, and detailed patterns evoke feelings of comfort and connection to nature, making it ideal for creating calming and relaxing interiors. Scott suggests that wood can be used for walls, ceilings, cabinetry, and flooring to contribute to a comfortable and nostalgic ambiance. While Stewart's office showcases a uniform wood aesthetic, Scott encourages mixing different wood finishes and species to create a more dynamic and visually interesting space. He explains that wood-drenching doesn't necessarily mean adhering to a single colorway or style. Instead, designers can combine contrasting materials and patterns, such as rustic flooring with darker wood kitchen cabinets or a classic herringbone floor with fluted wall panels, to achieve an eye-catching home that is both minimalist and creative. The article concludes by reinforcing the timeless appeal and adaptability of wood in interior design. #MarthaStewart #WoodDrenching #InteriorDesign #HomeOffice #ScandinavianDesign #MidcenturyModern #HomeDecorTrends #NaturalMaterials

Designer Pao Hui Kao has developed the 'Paper Pleats' furniture collection, which includes stools, coffee tables, a dining table set, shelving, a space divider, and a ceiling lamp, all crafted from tracing paper bound with a unique rice glue. This innovative approach stems from the designer's personal sensitivity to chemicals found in many man-made materials and a commitment to creating recyclable products with minimal environmental impact. The core of the Paper Pleats collection lies in its distinctive manufacturing process. Each piece is constructed from tracing paper that is first soaked in rice water. This rice water functions as a natural adhesive, binding the individual sheets of paper together. As the paper absorbs the water and subsequently dries, it undergoes a natural shrinking and wrinkling process. This controlled contraction is crucial, as it contributes to the material's transformation into a surprisingly strong and rigid structure, despite the inherent fragility of paper. To achieve specific forms and maintain the desired aesthetic, Kao has engineered a series of bespoke tools, including various moulds. These tools are utilized to shape the wet paper, ensuring that the natural wrinkles are preserved while also allowing for the creation of regular patterns and pleats across the furniture pieces. The designer describes this process as a collaboration with the material itself, learning to control key elements like humidity and drying temperature to encourage the paper to adopt particular shapes and textures. A significant aspect of Kao's design philosophy is the ability to create objects that can support substantial weight, challenging conventional perceptions of paper's strength. This is achieved by forming numerous irregular paper tubes that are then bound together by the rice water, resulting in objects that possess a deceptive fragility in appearance but demonstrate considerable structural integrity. This method was initially developed during Kao's studies at Design Academy Eindhoven and has been continuously refined since 2016. The latest iterations of the Paper Pleats collection, including a series of three stools, were showcased at the Collectible design fair in Brussels. The presentation was hosted by the Belgian gallery Spazio Nobile, highlighting the collection's artistic and functional merits. Kao's choice of paper as a primary material is deeply rooted in both personal necessity due to allergic reactions to chemical components like pigments and coatings, and a broader interest in sustainable design practices. The designer emphasizes the importance of understanding recycling systems to investigate new methods of object creation that consider the entire lifecycle of a product. Paper, being a widely used and neutral material with a relatively simple and clean manufacturing process, proved to be an ideal choice for this sustainable endeavor. #PaperPleats #FurnitureDesign #SustainableDesign #RecyclableMaterials #RiceGlue #TracingPaper #DesignAcademyEindhoven #CollectibleDesign #EcoFriendly

The popularity of red brick as a building material surged after the Industrial Revolution in the US, becoming a standard choice for home exteriors until the midcentury. However, a shift in consumer preferences led to red brick being perceived as old-fashioned, dark, and drab, prompting many homeowners and designers to opt for painting the brick with a thick coat of light paint. Erin Napier, co-host of HGTV's "Home Town," has voiced her disapproval of this trend, considering it a mistake. In Season 7, Episode 16 of her show, Napier advises against painting brick exteriors, highlighting the material's porous nature. Unlike painted wood, paint on brick cannot be easily removed with strippers and sanding, making the alteration permanent. She warns that painted brick can quickly look outdated, suggesting that this trend is not a sustainable solution for modernizing homes. Napier proposes an alternative approach to updating red brick homes, focusing on working with the existing brick rather than concealing it. Her core advice is to identify the darkest color within the varied shades of the kiln-fired brick and use this as an accent color. Red bricks, despite their name, exhibit a range of hues, including burgundy, chocolate brown, black, and green. By selecting a paint color that matches one of these darker tones, homeowners can create an accent that harmonizes with the brick, making its natural colors more vibrant instead of diminishing them. This accent color can be applied to exterior trims such as shutters, gutters, and window frames. Beyond color matching, Napier emphasizes the impact of a fresh front door in modernizing a brick house. She illustrates this point with an example from one of her projects, where a white-painted double door was replaced with a wooden mahogany set featuring two large windows. This change not only improved the aesthetic appeal by breaking up the dark exterior of the brick but also enhanced the home's interior by allowing more natural light to enter. The recommendation is to select a front door that complements the natural brick tones and introduces a contemporary element to the home's facade. In essence, Napier's philosophy encourages homeowners to embrace the inherent beauty and character of red brick. Rather than succumbing to the temporary trend of painted brick, she advocates for thoughtful design choices that highlight the material's unique qualities. By using existing brick colors as inspiration for accentuating elements and upgrading key features like the front door, homeowners can achieve a refreshed and modernized look that respects the historical and architectural integrity of their red brick homes, ensuring a timeless appeal. #HGTV #ErinNapier #HomeTown #BrickExterior #HomeRenovation #DesignTrends #NaturalSolution #AccentColors #FrontDoorUpgrade

Cindy Erdall, an interior designer at Gabberts Design Studio in Bloomington, shares her insights and inspirations regarding her approach to interior design. Her appreciation for design began in childhood, influenced by her grandparents' fine furnishings, which led her to pursue a degree in interior design and space planning from Minnesota State University, Mankato. Her early career involved working with prominent Twin Cities designers Robert Lenox and Billy Beson, training that instilled a fashion-forward design philosophy and strong work ethic. Erdall emphasizes the importance of establishing a strong designer-client relationship built on listening to her clients' tastes and lifestyles. This approach, combined with her training and Gabberts' extensive product lines, allows her to navigate various design styles, including traditional, contemporary, and transitional. She possesses comprehensive knowledge of furniture, flooring, carpeting, draperies, and window treatments, enabling her to guide clients through every stage of a project. Regarding style, Erdall expresses an enjoyment for all categories but personally leans towards traditional, adapting to contemporary influences based on client personalities and architectural details. She particularly favors biophilic design, integrating natural colors, textures, and elements into her work. Her preferred space to design is the great room, where she focuses on creating comfortable sitting areas for social gatherings. She also enjoys designing lower levels to incorporate amenities like entertainment systems, pool tables, and golf simulators, all intended to foster togetherness. Kelly Wearstler is cited as a design icon for her ability to blend fashion with interior design and her commitment to creating spaces that clients consistently love. Wearstler's fearless and bold style also resonates with Erdall. For eras, Erdall connects with the 1970s and its warm color palette, embracing the current maximalist trend with its vibrant hues, including blush, pink, mustard, and avocado, which she believes will remain popular in 2024. Her inspirations stem from current design trends, fashion, and nature, with a particular fondness for organic textures such as wood, stone, rattan, wool, cotton, and fur, as well as sustainable textiles. Lighting is identified as a crucial yet often overlooked accessory that provides the perfect finishing touch to a room, whether it's a statement chandelier or a functional reading lamp. Outside of design, Erdall’s favorite local restaurant is Ciao Bella in Bloomington, appreciated for its warm ambiance, outdoor terrace, and handcrafted cuisine. For travel, Switzerland is a top destination due to her passion for hiking, despite a fear of heights, and she admires its stunning scenery, flowers, and fresh air. Finally, Erdall notes that at Gabberts, there are no secret sources; she values the vast resources available to procure unique items tailored to each client and their specific space. #CindyErdall #InteriorDesign #GabbertsDesignStudio #BiophilicDesign #DesignTrends #HomeDecor #KellyWearstler #SeventiesStyle #OrganicTextures

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

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