Sylvie Johnson Is the Textile Designer Top Architects Trust

Suzanne Lovell, a Chicago-based design professional, discusses her integrated approach to architecture, interior design, and fine-art advisory services. Having honed her skills at Skidmore, Owings & Merrill, Lovell launched her firm in 1985, specializing in residential projects ranging from large estates to superyachts. Her work is characterized by a holistic design process, where architectural materials, furniture, fabrics, and art placement are considered interwoven from a project's inception. This integrated methodology ensures that every aspect of a space contributes to a cohesive aesthetic and functional environment. Lovell emphasizes the distinct nature of acquiring art versus creating an interior. While interior design involves sourcing and buying to achieve a specific aesthetic, art acquisition, particularly for serious collectors, requires a different approach. The art world often demands proof that the art is not merely decorative to grant access to significant pieces and private sales. Lovell and her colleague Kristin Murphy Romanski, who directs the fine-art advisory service, focus on educating clients and providing them with an enriching experience. The goal is for clients to be able to tell a story about their art and home, transforming the entire process, including house building, into an enjoyable and memorable journey. The fine-art advisory service offered by Lovell's firm is comprehensive, involving collaboration with auction houses and galleries. It manages clients' existing collections through logging pieces and coordinating appraisals. The service also assists clients in bequeathing art to museums, demonstrating a deep understanding of museum acquisition priorities. Interestingly, Lovell notes a growing trend among collectors to establish their own private museums, driven by a desire to create accessible art experiences for visitors rather than having pieces stored away in public institutions. Lovell shares details about current projects, including a residential renovation in upstate New York that adopts a Danish-Norwegian aesthetic with white plaster, Andes black granite, and raw oak, designed to complement the surrounding garden. She also discusses an anticipated trip to Cork, Ireland, to meet with Joseph Walsh, a maker renowned for his bentwood furniture and sculptures, to explore the integration of his work into architecture. Regarding her firm's location, Lovell attributes Chicago's unique environment to fostering a loyal team with strong communication and a lack of ego, which she believes has been crucial for building her business. She recounts her experience designing her first superyacht, highlighting the challenge and intrigue of working within limited space, which demands exceptional accuracy and organization for every element. Lovell's design philosophy embraces both traditional and modern elements, often blending them to honor clients' individual preferences rather than imposing a signature style. This approach is evident in her willingness to create diverse aesthetics, from knotty-pine houses to modern penthouses. Her work on a penthouse concept for Vista Tower in Chicago involved leveraging drone footage to understand views and noise levels, emphasizing the importance of creating serene spaces within urban environments and using art to provide memorable moments. She highlights art as a critical component in defining the character and experience of a living space. #SuzanneLovell #InteriorDesign #Architecture #FineArtAdvisory #ResidentialDesign #LuxuryHomes #SuperyachtDesign #ArtIntegration #ChicagoDesign

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

Hella Jongerius, a renowned designer, has consistently explored color and textiles throughout her extensive career, applying her innovative approach to diverse projects ranging from KLM airline interiors to custom upholsteries for Maharam. As design director of rugs at Danskina and art director of Vitra’s Colour and Material Library, she developed systems for matching colors and materials within their vast collections. Jongerius's work extends beyond industrial demands, driven by a critical perspective on the design industry's limitations and a strong social and political agenda. She advocates for integrating craft and the human touch into industrialized processes, celebrating imperfections, and promoting a diverse, light-reactive color palette. Collaborating with design critic Louise Schouwenberg, she co-authored the manifesto “Beyond the New,” urging designers to prioritize experimentation over hyper-consumerism and the industry's relentless pursuit of market share. Her recent focus has shifted towards exhibitions to share her research, following "Breathing Colour" with "Interlace" and "Woven Cosmos," which delve into the potential of weaving, particularly 3D weaving. Jongerius explains her choice to focus on weaving over knitting by highlighting knitting's already advanced state and ease of programming, unlike weaving, where software often remains outdated. She took a sabbatical year to immerse herself in the entire weaving process, aiming to understand its full potential beyond industrial efficiency demands. Jongerius critiques how automation, particularly the Jacquard loom, while initiating mass production, has simultaneously diminished the creative aspect of weaving, reducing the versatile hand loom to a mere robot. She laments the textile market's shallow state, blaming globalization and fast fashion for accelerated production cycles and increased pollution. She notes that complex weaving constructions have been replaced by simpler plain weaves, and material options have become standardized, limiting warp choices to black or white and restricting weft options to fast-running yarns. To challenge this, Jongerius and her team began building their own 'human looms' to create 3D weaving structures and explore possibilities unattainable in industrial settings. These efforts culminated in the "Interlace" exhibition at Lafayette Anticipations, where the entire building was transformed into a gigantic loom, serving as a workshop for weavers, designers, and artists to experiment with various weaving and braiding techniques. Upon receiving an invitation from the Gropius Bau in Berlin, Jongerius expanded her research to investigate the cultural and spiritual meanings of weaving and explore the future of 3D weaving, asking what new constructions could emerge and how they might benefit textiles, design, and other disciplines. Her studio is a hub of innovation, where a team of textile engineers and programmers combine digital programming with manual work on a digital Jacquard machine. They utilize the TC2 loom for experimentation rather than just sampling, allowing for on-the-fly changes in weft, diverse yarns, and varying thicknesses. Jongerius discusses the evolution of her "Seamless Loom" from Paris, which aimed to develop the skin of a three-dimensional object, to a rebuilt version in Berlin. In Berlin, they developed new know-how, including hacking their four-part loom to return to a flat loom, enabling multi-axial weaves and creating woven windows as a personal research project. This same loom allows for spatial work, where instead of weaving around a structure, they build spatial structures from the ground up by shifting the warp in multiple layers. This method creates "sandwiches" of double-faced or layered fabric, which can be cut open to unfold into three-dimensional structures, similar to pop-up cards. This innovative approach involves deconstructing traditional weaving hierarchies, questioning the conventional roles of warp and weft. Jongerius sees potential applications for her research in various fields, including the biomedical field for morphing membranes and vascular prostheses, and in carbon fibers for the automotive and aerospace industries. She envisions a future of "pliable architecture" made from 3D-woven architectural structures that are strong, lightweight, and offer a reduced carbon footprint. Such textile architecture could integrate insulation, regulate climate, and allow for personalized colors, creating pleasant and adaptable environments, all within a single "brick" material. #HellaJongerius #WeavingArchitecture #TextileInnovation #3DWeaving #DesignCritique #SustainableDesign #Craftsmanship #ArchitecturalTextiles #JongeriusLab

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

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

Julie Paterson, the founder of Sydney-based Cloth Fabric, is an English-born textile designer whose work is deeply inspired by the Australian bush. Her creative process emphasizes the journey and the immersive experience of design. Paterson, who arrived in Australia twenty-five years ago with a textile design degree, initially freelanced, creating European-style designs for manufacturers. However, driven by a desire to produce something uniquely Australian and to challenge the perception that overseas designs were superior, she transitioned to hand-painting and hand-printing fabrics, drawing inspiration from the Australian landscape. Today, all of Cloth Fabric's manufacturing is local, reflecting Paterson's commitment to sustainability and environmental responsibility. She collaborates with skilled craftspeople, utilizing natural fabrics such as high-quality upholstery-grade hemp and linen, which sets her work apart from lighter hand-printed textiles. The fabrics are screen-printed by hand on a thirty-metre-long table in a tin shed, highlighting a low-tech, artisanal approach. The Cloth Fabric retail space in inner Sydney, formerly a prestige car showroom, now showcases a wide array of fabrics, lampshades, cushions, and features a small in-house workroom where piece goods are created. Beyond fabrics, Paterson licenses her designs for wallpapers, rugs, and bed linen. However, her greatest joy lies in collaborating with designers and architects on various projects, which she considers her primary passion. Her studio in the Blue Mountains serves as a sanctuary where she downloads ideas from her notebooks, identifying recurring themes that evolve into lino prints or painting series. These then inform her fabric designs. Paterson's "Natural" collection exemplifies this process, directly drawing inspiration from the Wollemi pine and grey ironbark trees, as well as the bark, stone, and clay found in her Blue Mountains garden and its surroundings. In a further extension of her artistic vision, she has partnered with a local potter to develop a range of clay pieces that complement her furnishing fabrics, offering a cohesive and distinctive interpretation of the Australian landscape. The article was published on March 4, 2014, with words by Deborah Niski, and also appeared in the December 2013 issue of Houses magazine. #JuliePaterson #ClothFabric #TextileDesign #AustralianBush #HandprintedFabrics #SustainableDesign #LocalManufacturing #InteriorDesign #BlueMountains #NaturalCollection

The "Design Awards 2013: best of the rest" article highlights a curated selection of innovative and influential designs across various categories, reflecting the top trends and notable reissues of the year. The first trend identified is the "puzzle-like" design, characterized by random patterns, asymmetric forms, and modern marquetry. This approach updates traditional inlay and overlay techniques by integrating diverse materials such as stone, wood, leather, acrylic, and ceramic, resulting in freestyle, decorative geometry. Examples include Patricia Urquiola's 'Azulej' tiles for Mutina, which blend ancient majolica with digital-print glazing to create mixed aesthetic patterns; Massimo Morozzi's 'Bois de Rose' cabinet for Edra, featuring random rosewood veneers and piano pedal-operated doors; and Urquiola's 'Fishbone' coffee table for Moroso, utilizing Alycrite to mimic natural materials in a herringbone pattern with a glossy finish. Additionally, Form Us With Love's 'Slab' vases for Cosentino/Silestone demonstrate the versatility of quartz compound beyond conventional surfaces, forming heavyweight, puzzle-like arrangements. The article also features significant reissues that have made a comeback. These include Ferdinand Kramer's 1951 'Calvert' coffee table, now produced by E15 in oak, walnut veneer, or colored lacquer, originally designed for flat-pack export. Giò Ponti's tableware, based on his 1951 sketches and manufactured by Sambonet, includes asymmetric 'Conca' flatware and a unique two-bowl centerpiece. Arne Jacobsen's 1939 'Mayor' sofa, conceived for Søllerød City Hall, is reissued by &Tradition; with a solid oak frame and Kvadrat upholstery. Le Corbusier's 'Projecteur 365' light, initially designed in 1954 and inspired by industrial lamps, is now produced by Nemo Cassina in various models. Further categories include "Best Reinvention," recognizing Muriel Grateau's revitalized gallery in Paris, showcasing her color-drenched ceramics, glassware, linen, jewelry, and new silverware and watch ranges in a newly whitewashed space. "Best Use of Material" highlights Chanel Fine Jewellery's 'Clair-obscur' ring, which ingeniously combines diamonds with industrial titanium, inspired by Gabrielle Chanel's original design philosophy and the celestial discovery of titanium. The "Best Plant Shop" award goes to Qusamura in Hiroshima, founded by Kohei Oda, which specializes in pairing unusual cacti with distinctive pottery, treating these botanical forms as sculptures for the home. Minotti's 2012 furniture collection is lauded as the "Best Collection," epitomizing a blend of innovation and continuity with detailed craftsmanship, luxurious materials, and mid-century and Scandinavian influences, featuring pieces like the 'Evans' table and 'Brice' coffee table, and adaptations for compact living spaces. "Best Future Vision" recognizes Cartier's 'ID Two' concept watch, a non-commercial prototype with a transparent ceramic case and vacuum-sealed interior, signaling future technological and aesthetic advancements in watchmaking. The "Best Finishing Touch" category covers beauty essentials, including Comme des Garçons' 'Amazingreen' Eau de Parfum, Chantecaille's 'High Definition Perfecting Powder', Matylda Krzykowski's 'Borste & Horne' brushes, and Shu Uemura Art of Hair's 'Essence Absolue Nourishing Protective Oil'. Other notable mentions include the "Best Lab," the Faculty of Pharmaceutical Sciences at the University of British Columbia by Saucier + Perrotte Architects and Hughes Condon Marler Architects, praised for its tree-inspired design and engaging spaces. "Best Comfort Food" highlights Jacob's Pickles in New York for its Southern soul food and East Coast pickle culture, and Häagen-Dazs' 'Ice Moons' designed by Doshi Levien. "Best Cover-up" showcases innovative outerwear from Herno, Sealup, CP Company, and Hancock, emphasizing technical fabrics and sharp silhouettes. "Best Bottom Drawer" features Nosigner's 'Cartesia' chest of drawers for MSY, a corner-fitting piece with trapezoid drawers opening in two directions. "Best Loo" recognizes Roca's 'In-Tank Meridian' toilet with a hidden cistern and CEA's 'Hydroplate' water jet cleaner. "Best Fixer-Upper" celebrates Jaime Hayón's redesign of Le Sergent Recruteur restaurant in Paris. "Best Bag" is awarded to Piquadro's 'Coleos' backpack for its extensive compartmentalization and thoughtful features. "Best Winter Retreat" goes to The Alpina Gstaad in Switzerland, a luxury hotel blending reclaimed timber and natural materials, with a Six Senses Spa and Japanese restaurant Megu. "Best Building Sites" features OMA's Shenzhen Stock Exchange in China, a symbol of economic power with a floating podium, and Paulo Mendes da Rocha and Metro Arquitetos' Cais das Artes in Brazil, an arts complex elevated above a plaza. Finally, "Best Getaway" highlights Casa Till in Chile by WMR Arquitectos, a remote, Spartan, yet stylish retreat with breathtaking sea views, constructed with local materials and labor. The article also mentions Trevor Paglen's 'The Last Pictures' project as "Best Mission," sending etched photographs into space to document human history for extraterrestrial audiences, and Daikanyama T-Site in Tokyo by Klein Dytham and Kenya Hara as "Best Bookshop," a vast complex designed to appeal to a broad demographic with an extensive collection of books, music, and a unique lounge bar. #DesignAwards #InteriorDesign #ProductDesign #Architecture #LuxuryGoods #Fashion #Beauty #Travel #FoodAndDrink

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

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

Olivia Smith, founder of Nodi Rugs, shares her journey in textile design, deeply influenced by her travels and connection to nature. Her initial steps into the world of textiles began in Milan, where she studied textiles and interned with a designer specializing in block-printed textiles from India. This experience introduced her to the beauty of handmade and traditional Indian textiles, and it was during this time that she learned the word "nodi," meaning 'knots' in Italian, which later became the inspiration for her brand name. After three years in Milan, facing the economic downturn of 2008, Smith moved to Sydney. There, she worked for a furniture company, gaining insight into the interiors market, trade accounts, and project specifications by working with interior designers and architects. Despite this, her passion for textiles persisted in the background. A trip to Japan served as a pivotal moment, inspiring her to move to India with the intention of learning and honing her textile skills rather than immediately starting a business. In India, she connected with an agent and various rug factories, ultimately choosing one to weave her initial designs. Smith's early designs were heavily influenced by her surroundings and travels, emphasizing the transformative power of new environments on creativity. Her first collection, consisting of five full rug designs and swatches, presented a logistical challenge upon their arrival in Sydney due to their weight. Undeterred, she created a catalogue, photographed the rugs, and began selling them to her contacts in the interior design community. Recognizing the need for a stronger support system to grow her business, she relocated to Mount Maunganui, New Zealand, where she established the foundational elements of Nodi Rugs. She secured retailers and gradually expanded her sales, leading to the release of a second collection. Over time, Smith adapted her design philosophy to cater to the New Zealand market, which she observed to be more conservative in its aesthetic preferences. This led her to introduce a new range that balanced her bold initial designs with more subdued, versatile options. Her "Staples" range was born from observing natural light and shadows in her Mount Maunganui office, directly inspiring the organic forms within the collection. She consciously chose natural materials like jute, banana silk, and cotton, aligning with the coastal environment she was then inhabiting. The commercial sector has become a growing segment for Nodi Rugs, with custom-made rugs for specific spaces being a favored aspect of her work. For her latest collection, Smith faced the challenge of balancing creativity with commercial viability. This collection, which required numerous redesigns, introduces a wool component to the Staples range and explores different spinning techniques for jute, creating a comprehensive array of staple rugs. Additionally, a new designer range called "Luna," meaning moon in Italian, emphasizes texture and yarn, further showcasing her commitment to natural inspiration and materials. Nodi Rugs exclusively uses natural fibers like wool and jute, avoiding synthetics, underscoring their inherent durability and resilience. Looking ahead, Smith envisions Nodi Rugs evolving into a global brand, exhibiting at major international trade fairs like Salone in Milan and Maison&Objet, while maintaining its core operations in New Zealand. #OliviaSmith #NodiRugs #TextileDesign #InteriorDesign #RugDesign #NaturalMaterials #HandmadeTextiles #TravelInspiration #NewZealandDesign

This article highlights the 14 outstanding wall covering and textile products that were recognized as winners in the Best of Year 2019 awards. These products represent a diverse range of applications and innovations within the interior design industry, showcasing advancements in materials, design, and functionality across various categories. Among the celebrated products, the Mad4Plaid Collection by Arc|Com was honored in the Hospitality Fabric category, demonstrating excellence in textile design for commercial spaces. In the realm of Paper Wall Coverings, the Wallpaper Capsule Collection, a collaboration between Benjamin Moore and The Alpha Workshops, received recognition for its innovative patterns and aesthetic appeal. Healthcare environments saw the Xorel Knit by Carnegie emerge as a winner in the Healthcare Fabric category, indicating a focus on durable, functional, and aesthetically pleasing solutions for critical care settings. For Tile/Stone Wall Coverings resulting from a Designer Collaboration, the Shimmer Collection by Erica Tanov for Clé Tile was lauded, showcasing a successful partnership in creating distinctive surface materials. Contract Fabric innovations were exemplified by The Bauhaus Project from Designtex, which was recognized for its progressive design and suitability for commercial applications. Another notable winner in the Tile/Stone Wall Covering category was Acanti by Fornace Brioni, distributed through Clé Tile, celebrated for its unique material qualities. KnollTextiles secured two awards: Bespoke Wall for Contract Wall Covering, acknowledging its customizable and high-quality wall treatments, and the Knoll Luxe Anniversary Collection for Residential Fabric, highlighting its luxurious and refined textile offerings for residential interiors. The Mohawk Group's Connecting Neurons Definity was honored for Innovation, underscoring its forward-thinking approach to product development. In the Fabric Wall Covering category, Flight by Phillip Jeffries was recognized for its distinctive designs and material quality. Sunbrella®'s Dimension Collection received an award for Outdoor Fabric, emphasizing its durability and aesthetic appeal for exterior applications. The Alexa Hampton Collection by The Shade Store was celebrated in the Window Treatment category, showcasing elegant and functional solutions for light control and privacy. Finally, Tubular by Turf was recognized for Acoustical Wall Application, pointing to advancements in sound-absorbing design elements. Veer by Aliki van der Kruijs for Wolf-Gordon, a Designer Collaboration in Contract Fabric, also received an award, reflecting a successful fusion of artistry and practicality in textile design. These selections collectively illustrate the breadth of creativity, technical prowess, and collaborative spirit present in the 2019 wall covering and textile product landscape, impacting various sectors of interior design from hospitality and healthcare to residential and commercial spaces. #BestOfYear #WallCovering #TextileProducts #InteriorDesignAwards #FabricDesign #TileDesign #AcousticalSolutions #DesignerCollaboration #ProductInnovation

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

The article details Kirkby Design's 'Underground Vol II' collection, a collaboration with Transport for London (TfL), which was launched at the London Design Festival. The collection features contemporary patterned woollen textiles, specifically upholstery velvets, inspired by historical moquettes from TfL's seating fabric archives dating back to the 1930s. Creative director Jordan Mould explains that the idea for the first 'Underground' collection originated when he observed the unique fabric designs on a tube carriage during an empty late-night journey, sparking the idea for a partnership with TfL. The 'Underground Vol II' collection reinterprets these vintage designs by adjusting their scale, texture, and color palettes to create a more sophisticated and luxurious aesthetic suitable for modern interiors. While the essence of the original designs is maintained, the updated color combinations are trend-driven. Each design in the collection is named after the London Underground line it was originally featured on, which helps customers connect with the historical aspect of the textiles, often evoking fond memories of their travels around London. Mould highlights 'Northern,' a design from 1965 by Marianne Straub, in the 'Biscuit' colorway, as one of his personal favorites from the new collection, appreciating its graphic statement. The article suggests that there is a vast amount of material within TfL's archives, hinting at the possibility of future collaborations. The collection is available from £89 per meter through Kirkby Design and was featured in the October issue of ELLE Decoration. This initiative represents a fusion of historical public transport design with contemporary interior textile trends, transforming functional patterns into high-end decorative elements. #KirkbyDesign #LondonDesignFestival #TextileDesign #UpholsteryVelvets #TransportForLondon #InteriorTextiles #DesignCollaboration #MarianneStraub #HomeDecor

Many celebrities extend their creative talents beyond their primary professions, venturing into the world of interior design and home decor. This exploration highlights 25 such individuals who have made notable contributions, ranging from launching their own decor lines to actively participating in house-flipping ventures and personal home renovations. These celebrities often draw from their unique styles and experiences to offer distinct aesthetic visions to the public. Kourtney Kardashian, for instance, is recognized for her serious furniture collecting, notably owning multiple valuable Jeanneret teak conference chairs. She has collaborated with celebrity designer Martyn Lawrence Bullard on her home interiors, including a chic guest room. Blake Lively demonstrates a passion for designing friends' homes pro bono, showcasing a modern organic aesthetic with a preference for navy blue. Reese Witherspoon has expanded her Draper James brand into home decor with a collaboration with Crate & Barrel, featuring Southern-inspired staples like blue check table runners and magnolia-patterned plates. Kanye West, known for his fashion endeavors, has collaborated with minimalist art dealer and Belgian interior designer Axel Vervoordt for his office and personal home furniture, and has expressed intentions to open an architecture school called Yeezy home. Iris Apfel, a celebrated 'Geriatric Starlet' and fashion influencer, began her career as an interior designer and textile company owner. She has since re-entered the furniture business with a collection for Cloth & Company. Tracee Ellis Ross designed a vibrant and maximalist clothing and decor collection for JCPenney, which quickly sold out. Kris Jenner, a matriarch known from reality television, has a notable interest in house-flipping, though a planned show with Scott Disick was canceled. Her personal style is marked by a fondness for black-and-white tile. Mandy Moore, an actress and singer, was deeply involved in the redesign of her Pasadena home, documenting the process on Instagram and releasing a decor collection with Shutterfly. Eva Longoria launched a Mediterranean-inspired home decor line with JCPenney, featuring bedding and window treatments. Ellen DeGeneres, along with Portia de Rossi, are prolific house-flippers. Ellen has published a book titled 'Home,' showcasing their grand estates and revealing her childhood aspiration to be an interior designer. Diane Keaton is a design enthusiast with a focus on historical properties, having published three design-focused books, including one detailing her use of Pinterest for home decoration. Jessica Simpson, a singer and actress, debuted her home decor line in 2014, starting with bright bedding and expanding to towels and bathroom accessories. Lauren Conrad, a reality TV star, maintains a successful home decor line with Kohl's, writes a decor blog, and offers DIY instructions. Cindy Crawford, the iconic supermodel, entered the furniture business in 2005, emphasizing designing with the history of the home in mind. Michelle Williams launched her 'Believe at Home' bedding collection, inspired by her textile-designing grandmother. Iman, a supermodel, introduced her globally-influenced fabric company at New York Fashion Week. Sofia Vergara, an actress, designs contemporary furniture for Rooms To Go. Catherine Zeta Jones launched Casa Zeta-Jones, an ultra-feminine home decor line on QVC. Brad Pitt, after discovering a shared passion for design with Frank Pollaro, partnered with Pollaro Custom Furniture to bring his sketches to life. Lenny Kravitz, a musician, has become an interior designer featured on the A-List and released a furniture collection with CB2. #CelebrityDesigners #InteriorDesign #HomeDecor #FurnitureDesign #LuxuryInteriors #CelebrityHomes #DecorCollections #TextileDesign

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

The article discusses the launch of Weft, an innovative online platform aiming to revolutionize the woven fabrics industry. Developed by Brooks Hagan, an associate professor of textiles at RISD, and Steve Marschner, a computer science professor at Cornell, Weft provides direct access to manufacturing for custom woven fabric orders, starting from as low as three yards. This platform distinguishes itself from surface-printed fabric providers by focusing on true woven designs, offering a unique service in the market. The project received research support from the National Science Foundation and a Small Business Innovation Research grant, highlighting its technological and entrepreneurial significance. Weft empowers users to personalize their fabric designs by allowing them to select colors, weave structures, and quality parameters, as well as define repeat sizes. This level of customization is particularly beneficial for independent designers working on smaller-scale projects, enabling them to create unique textiles without the high minimum order quantities typically associated with custom manufacturing. Users of the Weft platform have the flexibility to upload their own designs or photographs, integrating personal artistic vision into their fabric creations. Alternatively, they can customize existing designs available on the site. Beyond custom design, Weft also features a curated selection of limited-edition textile designs created by various artists. The article names Stephanie Pender, Kevin Zucker, Julia Dault, John Caserta, and Julian Kreimer as some of the collaborating artists, emphasizing the platform's commitment to artistic diversity. Hagan explains that the selection of artists from diverse fields was a deliberate choice to demonstrate the software's accessibility and utility to a wide range of creative individuals, regardless of their background. This approach aims to democratize access to custom fabric production, making it available to more designers and artists. In addition to custom orders, Weft operates an online shop offering ready-made woven jacquard fabrics. These fabrics are manufactured in the U.S. and include open-source options, further promoting customization. The versatility of these fabrics makes them suitable for various applications, including upholstery, drapery, and apparel, catering to a broad spectrum of interior design and fashion needs. Weft ensures efficiency by fulfilling custom fabric orders through its network of partner mills, boasting a quick turnaround time of as little as three weeks. This rapid production cycle is a significant advantage for designers and businesses seeking timely delivery of specialized materials. #WovenFabrics #CustomDesign #TextileIndustry #RISDInnovation #DigitalLoom #ManufacturingAccess #IndependentDesigners #ArtisticCollaboration