Najd textile collection by Tristan Auer for Lelièvre Paris

Dedar, an Italian textile manufacturer, has introduced a new line of fabrics called The Art of Jacquard. This collection is notable for its vibrant colors and intricate graphic patterns, which are achieved by weaving ultra-thin yarns directly into the material rather than employing traditional methods such as embroidery, printing, or stamping. The collection emphasizes the sophisticated technique of jacquard weaving, which allows for complex designs and a rich textural quality. One prominent textile within this collection is "This Must Be The Place," a design that incorporates tropical birds and botanical motifs. These natural elements are juxtaposed with abstract architectural forms, a collaboration with French illustrator duo Icinori. The creation of this specific fabric involves an interlacing process of 160 threads per centimeter, utilizing four distinct wefts, one of which contributes a metallic effect to the overall design, adding depth and a subtle sheen. This intricate weaving technique contributes to the fabric's detailed imagery and robust construction, making it suitable for furniture upholstery, as shown in visuals featuring sofas adorned with the pattern. Another distinctive fabric in The Art of Jacquard collection is "Dalie Papaveri Tulipani." This design presents an abstract interpretation of a floral landscape. A unique characteristic of this textile is its resemblance to the reverse side of a traditional jacquard fabric, offering a sophisticated and unconventional aesthetic. This fabric is versatile, designed to be suitable for both curtain applications and seating upholstery, allowing for cohesive design schemes across different elements within an interior space. Additionally, the collection includes the "Be Bop A Lula" fabric, which draws inspiration from the imagery of warm summer nights on a Pacific island. This textile features a repeating pattern of palm trees rendered in a diverse array of playful colors. Its vivid and dynamic design makes it an option for those seeking to introduce a lively and exotic atmosphere into their living environments, whether through curtains or upholstered pieces. Finally, the "Intarsiato" jacquard weave stands out for its three-dimensional geometric pattern. This effect is achieved through the alternating use of matt and metallic yarns, which are woven together to create a visual resemblance to classic inlays of ebony and mother-of-pearl. The interplay of textures and finishes in the Intarsiato fabric provides a tactile and visually engaging surface, suitable for accent pieces such as armchairs and also curtains, demonstrating the collection's diverse applications and aesthetic range. #Dedar #JacquardFabric #TextileDesign #HomeDecor #InteriorDesign #FabricCollection #LuxuryTextiles #PatternDesign #Upholstery

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

The city of Mulhouse in eastern France holds significant historical importance within the textile community, serving as a prominent center for textile manufacturing in the early 19th century. Today, it is home to the Musée de l’Impression sur Étoffes, a museum dedicated to preserving and showcasing the history of fabric printing from the 17th century to the present day. To bring the museum's extensive collection to a wider audience, TASCHEN has published a two-volume set titled "The Book of Printed Fabrics: From the 16th Century Until Today." Authored and compiled by Aziza Gril-Mariotte, an art historian, textiles specialist, teacher, and former head of the Mulhouse museum, these books feature high-resolution images of nearly 900 textile pieces. These artifacts represent a broad geographical and historical scope, spanning four continents. The collection begins by tracing the origins of textile design in the Far East, detailing how these patterns subsequently influenced and were adopted by European manufacturers. It explores the evolution of popular textile styles, such as toile de Jouy, and the development of specific color palettes over time. The second volume shifts its focus to the innovations that characterized textile manufacturing and design during the 19th and 20th centuries. This includes an examination of the emergence of distinctive cashmere motifs and the increasing prevalence of natural and floral depictions in fabric designs. The books delve into the technical and artistic advancements that shaped the industry during these periods, illustrating the continuous evolution of textile art. Beyond their informative content, these volumes are designed to be aesthetically pleasing objects. Their bright red spines and an accompanying slipcase are intended to make them visually appealing as decorative items for various home settings, including coffee tables, side tables, or bookshelves. The publication aims to serve as both a comprehensive resource for textile enthusiasts and a beautiful addition to any interior, showcasing the artistry and historical richness of printed fabrics. #TextileDesign #FabricPrinting #DesignBooks #MulhouseMuseum #TASCHEN #ArtHistory #HomeDecor #PatternDesign #FrenchTextiles

Italian textile manufacturer Dedar has launched a new collection of furnishing fabrics called "Geometric patterns," which blends graphic art with textiles. This collection features abstract lines and vibrant geometric shapes, making the fabrics suitable for both upholstery and curtains. The designs aim to introduce a playful and dynamic aesthetic to interior spaces. One notable fabric within the collection is Andirivieni, a double-faced material that utilizes contrasting colors to form an abstract representation of maps. This design is offered in six distinct color combinations, reflecting what Dedar describes as a "dual personality" with a "lively spirit" and a "subtle sense of play." The versatility of Andirivieni suggests its use in creating visually engaging and multi-dimensional interior elements. Another distinctive fabric in the collection is Volver, which is crafted using the traditional brocatelle technique. This method produces a raised texture that accentuates the contrast between matte and lustrous threads, adding depth and sophistication to the material. Volver's design is intended to draw attention to its intricate construction and the interplay of different finishes. The collection also includes Regimental, a fabric featuring a striped pattern inspired by traditional British school uniforms. Dedar characterizes Regimental as having rigorous lines yet bright, contrasting colors, imparting an "exuberant and comfortable spirit." This particular design combines a classic aesthetic with a modern, lively feel, suitable for contemporary interiors looking for a touch of structured vibrancy. Additionally, the Zai Saman fabric is part of the Geometric patterns collection. It showcases a geometric pattern embroidered on linen, available in a palette of desert-inspired tones. Zai Saman, like other fabrics in the collection, emphasizes intricate geometric lines and patterns, contributing to the overall theme of combining graphic art with functional textiles. The use of linen adds a natural texture and drape, enhancing its appeal for various furnishing applications. Dedar's "Geometric patterns" collection seeks to provide designers and consumers with a range of innovative and aesthetically rich fabric options. Each fabric, through its unique design and manufacturing technique, aims to transform living spaces with its distinct visual and tactile qualities, whether through abstract map-like patterns, contrasting textures, classic stripes, or embroidered geometric motifs. The collection as a whole offers diverse choices for enhancing upholstery and curtain designs with artistic geometric flair. #GeometricPatterns #FabricCollection #DedarTextiles #InteriorDesign #UpholsteryFabric #CurtainFabric #TextileDesign #HomeDecor #AbstractArt

This article explores the significance of an eighth-century Umayyad wool tapestry fragment from the Metropolitan Museum of Art's collection, reconsidering common impressions of Islamic art. While Islamic art is often perceived through its precise and repetitive ornamental motifs, this tapestry fragment offers a counter-example, revealing a more playful spirit in early Islamic textiles. Dated to the mid-eighth century and attributed to the Umayyad Caliphate, the fragment features stylized rosettes and floral motifs that resemble bright flower sprays on a grassy background. The fragmentary nature of the tapestry, lacking selvedges, suggests it was part of a larger furnishing fabric. Reconstructing Umayyad homes from the seventh or eighth century is challenging due to the scarcity of extant textiles. However, wall paintings and mosaics from Umayyad palaces provide insights into their interior decorations. For instance, a fresco at Qusayr 'Amra depicts a heavily draped space with veiled doorways and colonnades, and covered seating, contrasting with the current austere state of these palaces. Similarly, floor mosaics at Khirbat al-Mafjar, edged with tassels, suggest the presence of carpets of similar size, reinforcing the idea of textile use in these grand spaces. The author posits that the floral tapestry fragment might have served as a wool seat or wall furnishing. A key aspect distinguishing this fragment is the irregular design and varied color application of its motifs, a departure from the strict repetitive or symmetrical layouts prevalent in decorative art from later Islamic dynasties. The central part of the textile, a band with a green background, features two rows of medallion-style rosettes. Each of the seven rosettes is distinct in color or form, with individually rendered petals. The flower bouquets on the red band, forming the edge, also exhibit this intentional variation, ensuring no two neighboring motifs are identical. This deliberate variety in repetition is paralleled in the facade of Qasr al-Mshatta, where carved rosettes within hexagons and hexafoils display distinct content while maintaining a general form. The interspaces are densely covered with grape leaves, alongside depictions of lions, griffins, and peacocks. This suggests that such decorative programs were designed to evoke a garden, mimicking the fabled Paradise garden, through a diverse array of flora and fauna. Therefore, the rosette tapestry fragment, whether used as a hanging or a cover, would have functioned as a segment of a portable garden. Spreading the tapestry would have transformed the environment, releasing a miniature Paradise and adding a sense of glamour, as if the owner were seated on a floral lawn or surrounded by fantastic creatures. This interpretation highlights the innovative and artistic intent behind early Islamic textile design, showcasing a sophisticated approach to decoration that went beyond mere repetition to create dynamic and symbolic spaces. #IslamicArt #UmayyadTextiles #TextileHistory #DecorativeArts #MetropolitanMuseum #ArtInterpretation #GardenMotifs #HomeDecor

The article highlights a growing trend among luxury brands to utilize their boutiques as spaces for artistic and design installations, moving beyond mere retail outlets. This phenomenon is exemplified by Delvaux's Brussels flagship, designed as an art gallery, and Loewe's Mayfair store in London, which showcases an eclectic art and design collection. The Row's first European flagship in Mayfair also integrates expertly curated and purchasable design objects, such as pieces by Charlotte Perriand and Corbusier, into its retail environment. Since taking over Jil Sander in 2017, Lucie and Luke Meier have significantly enhanced the brand's artisanal identity through various architectural and artistic collaborations. Notable examples include a Tokyo flagship designed by John Pawson and a living installation at the Milan headquarters in collaboration with artist Linda Tegg during Salone del Mobile 2019. This strategic approach culminated in the announcement that Jil Sander's Via Saint Andrea store in Milan would be exclusively dedicated to temporary installations and exhibitions, thereby complementing the fashion collections housed at its Via Pietro Verri flagship. For the inaugural installation at the Via Saint Andrea store, the Meiers presented large, bulging sculptures crafted from padded down inflation. These sculptures were a direct reference to their ongoing fascination with architectural and buoyant silhouettes, reflecting a deep-seated interest in fabrication. This interest was previously evident in the label's S/S 2020 women’s collection, which featured intricate designs incorporating raffia, paper, beading, and elaborate intarsia techniques. The Meiers explained that these installations offer a platform to showcase items that do not fit into the typical runway or campaign presentations, allowing for a broader expression of their creative vision. Jil Sander's second installation at the Via Saint Andrea space is dedicated to Japanese denim, a material widely recognized for its superior quality and craftsmanship. The installation transforms the space with long curtains of dark denim, illuminated by tubular strip lighting. This dramatic backdrop showcases a new range of unisex denim styles, alongside men’s denim shirts and women’s shirt dresses, emphasizing the versatility and aesthetic potential of the fabric. The Meiers underscored that the Via Saint’Andrea space provides a unique opportunity for experimentation and exploration, suggesting a continuous evolution of thematic installations. The article underscores that these installations are not just about displaying products but about creating an immersive brand experience that physicalizes the artistic and design inspirations behind Jil Sander's work. By transforming retail spaces into cultural venues, brands like Jil Sander are engaging customers on a deeper level, offering more than just merchandise but a glimpse into their creative philosophy and craftsmanship. This approach solidifies the brand's position at the intersection of fashion, art, and design, promising an exciting future for their exploratory installations. #JilSander #JapaneseDenim #MilanFashion #FashionInstallation #LuxuryBrands #ArtAndFashion #LucieAndLukeMeier #TextileInnovation

Dana Arbib, the designer behind the brand A Peace Treaty, has established a New York headquarters that serves as a physical embodiment of her globally-inspired aesthetic. After completing a two-year residency in the CFDA Incubator, which provided office space in Midtown Manhattan, Arbib sought a more distinctive environment for her brand. Her search led her to a pre-war building on cobblestoned Lispenard Street in Tribeca. The studio space was chosen for its blend of modern and rustic elements, a departure from the corporate office settings Arbib wished to avoid, thus preserving her creative freedom. A significant draw of the Tribeca studio was its existing floor-to-ceiling shelving and a functional rolling library ladder. These features proved ideal for displaying the myriad of objects Arbib collects during her extensive travels. Her journeys take her to diverse locations, from Pakistan to Peru and Turkey, where she sources textiles, learns traditional production techniques, and acquires unique baubles. The displayed artifacts include handwoven bags and accessories procured from an artisan market in Cuba, a custom-designed leather trunk from India, and a train case from London, now repurposed for transporting jewelry. The studio's decor also incorporates family heirlooms, such as a collection of masks from South Africa and Namibia dating back to the late 1970s, a piece of art by Israeli artist Michael Argov, and an Egyptian tomb statue. The design of the studio was not merely an accumulation of these global finds but was directly influenced by A Peace Treaty’s Resort 2017 collection. This collection drew inspiration from the rich legacy of woven African art, featuring crocheted caftans, scarves, and intricately embroidered textiles. This thematic connection is evident throughout the workspace, with numerous pieces from Africa, including baskets and handmade crafts, integrated into the decor. Most of the baskets in the studio are from Rwanda, with the exception of a leather-handled bolga basket crafted in Ghana. Arbib emphasizes that these elements celebrate traditional handmade techniques, a core value reflected in both the brand's collections and its workspace. The studio, therefore, functions not only as a functional workspace but also as a curated showcase of global artistry and Arbib's personal narrative of travel and cultural appreciation, offering an alternative to mass-produced decor. #HomeDesign #InteriorDesign #GlobalInspiration #TribecaStudio #DanaArbib #APeaceTreaty #TextileArt #CulturalDecor

Italian textile manufacturer Dedar has launched its new "Velvets" collection, an extensive range of velvet fabrics available in various luxurious and lustrous colors. This collection integrates a wide array of high-quality yarns, including wool, silk, cotton, mohair, and linen, resulting in ultra-soft textiles suitable for diverse applications in interior design. The Velvets line is designed to offer both aesthetic appeal and practical durability. The collection boasts a rich and varied color palette, encompassing everything from deep, vibrant hues to fabrics adorned with bold prints, intricate graphic motifs, and sophisticated geometric patterns. This broad selection allows for versatile use across different design schemes and preferences, providing options for both classic and contemporary interiors. Functionality is a key aspect of the Velvets collection, as these fabrics are designed for a wide range of applications. They can be used for upholstery, providing a soft yet resilient covering for furniture pieces like sofas and armchairs. Additionally, the fabrics are suitable for creating elegant curtains, drapes, and other decorative elements, enabling designers and homeowners to introduce texture and color throughout a space. Among the notable designs within the Velvets range is "Splendido," a velvet characterized by its bulky yet soft composition of silk and viscose. This particular fabric features a four-millimeter pile, offering a plush feel while maintaining elasticity and resistance to wear. Its robust nature makes it especially well-suited for intensive use, such as in high-traffic seating areas. Another distinguished offering in the collection is "Vladimiro," an exceptionally soft velvet crafted from kid mohair. This premium mohair is sourced from the first shear of Angora goats, known for its superior softness and luster. Beyond its luxurious feel, Vladimiro velvet is inherently durable and fire-retardant, adding a layer of safety and longevity to its sophisticated appeal. The Elektra velvet is also part of this comprehensive collection, distinguished by its luminous long-pile texture. This fabric is an ideal choice for curtains and seating, combining aesthetic brilliance with practical considerations, as it is both washable and hardwearing. Its ease of maintenance, coupled with its elegant appearance, makes it a versatile option for various interior settings. Finally, the "Romeo & Giulietta" fabric stands out as a precious silk velvet. It is renowned for its soft-to-the-touch quality and distinctive silky sheen, which adds a touch of opulence to any piece it adorns. This fabric embodies the luxurious essence of the Velvets collection, offering a refined option for upscale interior textile needs. The Dedar Velvets collection collectively represents a comprehensive and high-quality solution for textile requirements in sophisticated interior design projects. #VelvetsTextileCollection #DedarFabrics #InteriorDesign #Upholstery #LuxuryTextiles #SilkVelvet #MohairVelvet #HomeDecor

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

KnollTextiles has collaborated with American artist and educator Nick Cave to create The Nick Cave Collection, a series of textiles inspired by Cave's iconic Soundsuits. This collection, featuring four upholsteries, three draperies, and three wallcoverings, aims to offer a fresh perspective on textile design, acting as a starting point for consumers to infuse their spaces with creativity. Nick Cave, renowned for his work across visual and performing arts, is best known for his Soundsuits, which are dimensional textiles constructed by layering, rearranging, and transforming everyday objects like beads, doilies, sequins, and synthetic hair. These Soundsuits serve as the primary inspiration for the new collection, translating the intricate, layered, and often playful aesthetics into functional textile designs. The collaboration was enthusiastically embraced by Cave, who noted KnollTextiles' pioneering role in his own artistic development. He emphasized the central role of textiles in his work and their influence on spaces and the people who interact with them, viewing this collection as another avenue for people to engage with his art and energy. Each product in the collection directly references a specific artwork or characteristic of Cave’s oeuvre. For instance, the 'Guise' upholstery employs multiple layering techniques and materials, mimicking the surface complexity of a Soundsuit with space-dyed twisted novelty and chenille yarns, and a unique finishing process that creates a puckering effect. 'Vert' upholstery draws inspiration from Cave’s installation, 'Architectural Forest.' It features a multicolor, variegated full-width repeat with 27 yarn colors per colorway, celebrating both perfection and imperfection. 'Puff' upholstery, a cozy faux shearling available in 13 colors, is inspired by Cave’s rainbow-colored synthetic hair Soundsuit, offering a tactile and trendy option. The 'Doily' upholstery translates one of Cave’s maximalist pieces into a highly visual, multidimensional, and tactile surface through two types of embroidery techniques layered over a woven ground. For draperies, 'Button' is inspired by Cave's frequent use of vintage buttons in his Soundsuits, creating a natural gradient pattern on Trevira CS Polyester. 'Until' drapery, derived from Cave’s large beaded web-like installations, is an organic, open-weave textile created by skilled embroiderers using a water-soluble ground, leaving a two-toned open drapery with structural components. The wallcovering designs include 'Heard,' which features details that mimic the hand-sewn beads, buttons, and appliques found on Soundsuits, brought to life through a meticulous process of cutting, applying, and sewing five ribbon colors. 'Big Floral,' KnollTextiles’ first floral wallcovering, is inspired by a beaded Soundsuit and showcases an exaggerated scale of flowers with significant movement, dimension, and depth, digitally printed on a bleach-cleanable, PVC-free ground. Lastly, 'Wire' wallcovering, inspired by Cave’s metal and bead tondo sculptures, renders textured fur in matte ink on a metallic mylar ground, capturing the strong contrast and luster of the original artwork. The collection as a whole demonstrates a commitment to artistic expression, innovative textile manufacturing, and the integration of fine art into interior design. #NickCave #KnollTextiles #TextileDesign #InteriorDesign #Soundsuits #ArtCollaboration #HomeFurnishings #ContemporaryArt #MaterialInnovation

The article explores the latest textile and wallpaper trends for 2025 as previewed during Paris's Déco Off, Déco Home, and Maison&Objet; in The City events. These industry showcases highlight innovative approaches to home interiors, emphasizing both aesthetic appeal and advanced manufacturing techniques. The future of interior design, as presented by leading brands, appears focused on elegance, incorporating iridescent weaves, imaginative color palettes, and enduring earthy tones. Rubelli's new "Teorema" collection, designed by Formafantasma, features patterns that blend traditional craftsmanship with contemporary vision. The collection introduces wool and chenille fabrics with abstract and geometric motifs, notably the "Zig Zag" line, which reimagines embroidery techniques using shiny viscose thread for a modern, textured effect, pushing boundaries in decorative textiles for home transformation. Dedar's collections introduce material variations and new production methods within its "Contemporary Archives" family. The brand's soft figurativism enriches textiles with painterly depictions of natural elements like mountains, waterfalls, and starry skies. A highlight is the "Thank you for sending me an angel" line, crafted from kid mohair, which offers a luxurious, curly velvet texture that evokes the feel of fur without being actual fur, providing an elegant and pleasant tactile experience. Métaphores, an Hermès textile chain brand, presents "L'Echappée" by art director Emilie Paralitici. This collection draws inspiration from travel and exploration, translating distant memories into new fabrics. It celebrates iconic English beauty with exotic and oriental influences, incorporating tweed and tartan in vibrant colors suitable for contemporary spaces. The collection also includes textured fabrics with abstract patterns reminiscent of nautical cords, designed for both indoor and outdoor applications. Fischbacher 1819 collaborates with Marcel Wanders for the "Ancient Memories" collection, presented in Paris's Rive Droite. This line introduces an "archeology of time-traveling fabrics" that bring lightness to modern spaces. Developed with artist Caterina Roppo, the collection features decorative elements and canvases that convey poetic and emotional narratives. A notable inclusion is the "Nature's Dialogue" line, showcasing cotton lace embroidery that merges traditional craftsmanship with new technologies. Fortuny's "Armonia" collection, created in collaboration with designer Chahan Minassian, was unveiled in an art gallery during Déco Off. This collection merges Fortuny's historical legacy with Minassian's distinctive design approach, aiming for a timeless yet forward-looking aesthetic. The resulting patterns reflect on fabric's versatility in living spaces, integrating the traditional Venetian aesthetic with contemporary artistic vision. Lelièvre's "Métamorphose" collection emphasizes nature as an inexhaustible source of inspiration. The collection is characterized by designs that embody the rhythm of the seasons through visual and tactile patterns, delicate transitions, and blurred contours. The "Ammonite" line, for instance, features a fossil-inspired motif that connects to the origins of natural forms, refreshing the brand's aesthetic. Élitis introduces the "Brera" collection, which pays homage to the Milanese aesthetic of neoclassical style found in historic palaces and villas, particularly those in the Porta Venezia district. The collection reintroduces printed velvets and fabrics reminiscent of sophisticated clubs, creating a theatrical and elegant atmosphere in modern homes. This collection merges themes of nature, travel, and contemporary living through its upholstery, textiles, and accessories. Maison Pierre Frey's "Paralleles" collection explores the interplay of stripes, solid colors, and varying fabric thicknesses. The collection offers a vibrant range of palettes for contemporary homes, blending elegant, classic, and ethnic influences. The brand's installation, "Desert," presented in Paris, showcases wallpapers and fabrics that reinterpret 18th-century interiors with a modern twist, rejecting static interiors for dynamic, life-welcoming environments. Little Greene's "Storybook Papers" collection delves into childhood nostalgia, featuring designs inspired by archival materials and 20th-century aesthetics. Curated by the National Trust, the collection transforms wooden toy designs into two-dimensional motifs for wallpapers. Each wallcovering is accompanied by suggested paint selections, making them suitable for children's bedrooms, nurseries, bathrooms, dining rooms, and entryways, refreshing and renewing home spaces. CMO's new collections prioritize sustainability, utilizing natural fibers such as abaca, palm leaves, raffia, linen, silk, wool, and cashmere. These materials are processed using methods that blend ancient craft techniques with modern approaches. The brand focuses on preserving rare artifacts and traditional skills from remote villages, ensuring these unique practices are not lost to industrialization, thereby contributing to both design innovation and cultural heritage. #TextileTrends #WallpaperDesign #MaisonEtObjet #InteriorDesign #HomeDecor #LuxuryFabrics #SustainableMaterials #ParisDesignWeek #DesignExhibition

Taschen's "The Book of Printed Fabrics. From the 16th century until today" is a significant publication that offers an in-depth exploration of printed textiles. This two-volume work showcases the extensive collection of the Musée de l’Impression sur étoffes (The Museum of Printed Fabrics) located in Mulhouse, France, which is renowned as the world's most important repository of printed textiles, featuring contributions from four continents. The museum, established in the 1800s, stands as a testament to the thriving fabric printing industry of its time. The book, meticulously compiled by author Aziza Gril-Mariotte, comprises approximately 900 images spread across 888 pages. It includes accompanying texts in English, French, and German, designed to provide a comprehensive and enriching experience for both casual readers and researchers. The first volume delves into a wide array of international designs, highlighting textiles from regions such as India and Japan. This volume features a diverse range of patterns, from intricate floral motifs to abstract designs, including classic paisleys and sophisticated batik-inspired gradients. A notable section in this volume explores the profound impact of industrialization on the evolution of printing processes and, consequently, on fabric design. Moving into the second volume, the focus shifts to the advanced techniques and creative innovations in fabric production during the nineteenth and twentieth centuries. This section reveals how many designs, color palettes, and methods from these earlier periods possess a surprisingly contemporary aesthetic, often appearing as if they could have originated in the digital age. Examples such as the Ground Patterns created by Mizzi Ebert and Adele Bettelheim in 1904, alongside dress fabric samples from 1880, demonstrate a foresight in design that resonates with modern sensibilities. The book is currently available for pre-order through Taschen's online store, priced at 200 USD. This publication is not merely a collection of images and historical data; it serves as a valuable resource for understanding the artistic, cultural, and technological journey of printed fabrics. It underscores the enduring legacy of textile design and its continuous influence on aesthetics across different eras. The work emphasizes the historical significance of the Mulhouse museum's collection, positioning it as a crucial reference for anyone interested in the history and development of printed textiles. #TextileHistory #PrintedFabrics #TaschenBooks #MuséeDeLImpressionSurEtoffes #FabricDesign #DesignHistory #TextileArt #MulhouseMuseum #ArtBooks

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

Maharam, a prominent textile house, has released a new capsule collection of reissued fabrics, rugs, and wallpapers, celebrating the creative legacy of iconic American designer and architect Alexander Girard. This collection is part of Maharam’s ongoing ‘Textiles of the 20th Century’ series, which already features 30 of Girard's patterns. The newly reintroduced designs were originally conceived by Girard during his tenure as founding design director of Herman Miller’s textile division, a period spanning from 1952 to 1973, during which he developed over 300 designs. The current offering from Maharam comprises six designs, available across two upholsteries, three wall coverings, and one hand-woven rug. These selections highlight Girard’s distinctive ability to craft graphic patterns and incorporate unusual color and texture combinations. Maharam's approach involves faithfully reproducing these historic designs while integrating contemporary considerations, such as environmental impact and material innovation. To further illuminate Girard's work and influences, Maharam has commissioned a short film that delves into the significant role of Santa Fe and the New Mexico landscape in shaping his artistic vision. A notable example of this commitment to responsible reproduction is the 'Mexidot' (1963) upholstery pattern. Originally part of a series of handwoven stripes known as 'Mexicotton,' the Girard Studio, managed by Alexander Girard’s grandchildren, requested that the updated version prioritize environmental sustainability and accessibility. In response, Maharam Design Studio utilized recycled spun yarns to mimic the original appearance of natural cotton, ensuring the textile meets current demands for high-traffic commercial and residential settings. The collection also features three wallpaper designs: 'Alphabet' (1952), 'Roman Stripe' (1952), and 'Broken Stripe' (1952). These have been digitally printed on non-PVC substrates, preserving the original warmth, tactility, and vibrant colors of Girard’s initial creations. 'Pepitas' (1952), an upholstery design characterized by a pointed ellipsis formed by two intersecting discs, exemplifies Girard’s versatile aesthetic, suitable for various applications including drapery and wallpaper. The 'Millerstripe' rug, based on a 1972 upholstery textile previously reissued by Maharam in 2002, celebrates the enduring appeal of the stripe motif. This rug is crafted from a wool twill, depicting the original polychromatic layout at double its initial scale. Mary Murphy, Maharam’s vice-president of design, emphasizes the cohesive nature of Girard’s body of work, noting that many of his designs harmonize well together. She also highlights Girard’s belief in textiles as a fundamental building material for any space. The Girard Studio concludes that the collection aims to raise awareness about the breadth and diversity of Girard’s designs. They describe the upholsteries, wallcoverings, and rugs as offering an understated yet distinctly Girardian style, appealing to those who appreciate a classic yet unexpected aesthetic. The partnership between Maharam and Girard Studio reflects a dedication to preserving and recontextualizing historical design while embracing modern demands for sustainability and functionality. #AlexanderGirard #MaharamTextiles #TextileDesign #MidCenturyModern #InteriorDesign #SustainableDesign #Wallpaper #Upholstery #Rugs

This article introduces Shadé Akanbi, a Brooklyn-based freelance pattern designer and the Creative Director and Designer behind Printed Pattern People. Akanbi's design philosophy is rooted in her multicultural upbringing, which has instilled in her a passion for creating global fusion lifestyle and brands. Her work involves translating traditional ethnic patterns and textiles into contemporary interpretations suitable for everyday use. Akanbi's creative process often begins with identifying a specific motif or detail from traditional textiles. This chosen element then serves as the central inspiration, around which she constructs new patterns using fresh colors and additional details. She is prolific in her output, creating between one to six prints daily, drawing inspiration from personal collections, client ideas, or a combination of both. Akanbi is known for her collaborations with various brands, in addition to maintaining her extensive collection of global textiles. Her first major collaboration was with Anthropologie in early 2020, where her artwork was featured in an accessories and sleepwear collection. Since then, she has partnered with notable brands such as Intermix, Zuri, S'well, Chasing Paper, Netflix, and Target. Her most recent collaboration at the time of the article's publication was with Bounty Paper Towels, as part of their Inclusive Artists Project initiative. This partnership involved her artwork being featured on the Bounty Prints collection paper towels and her image appearing on the packaging, an experience she described as surreal due to the widespread nature of the household item. The article highlights Akanbi's ambition and future aspirations. As an avid traveler, she expresses a desire to collaborate with airlines and boutique hotel brands, specifically mentioning Delta, Jetblue, Kimpton, and Hyatt, envisioning these as platforms to showcase diverse art mediums. Her interest extends to athletic footwear brands like Nike, Adidas, Puma, and Vans, reflecting her passion as a sneaker collector. Furthermore, her background as a collegiate basketball player and a fan of the NBA/WNBA drives her dream to work with her favorite sports teams. Ultimately, Akanbi seeks to partner with brands with which she shares strong personal connections, aiming to utilize these collaborations as unique avenues for artistic expression. Her personal history significantly influences her artistic vision. Akanbi recounts how her upbringing, from her mother's styling choices to her father's Nigerian cooking, and her early travels, particularly her first trip to Nigeria, profoundly shaped her as an artist. These diverse experiences, encompassing sights, sounds, textures, tastes, and emotions, have cumulatively impacted her design sensibility. Her ability to blend cultural influences and her innovative approach to pattern design underscore her unique position in the design world. The article concludes by encouraging readers to explore more of Shadé Akanbi's work via her Instagram and mentions a past collaboration where she provided a Designer Desktop wallpaper for Design Milk. #PatternDesign #ShadeAkanbi #TextileArt #CulturalFusion #BrandCollaborations #ArtisticProcess #DesignInspiration #GlobalTextiles #CreativeDirector

This article celebrates the centenary of Lucienne Day, a pivotal figure in post-war British design, renowned for her vibrant, modernist textile designs. Lucienne Day, born on January 5, 1917, in Croydon, south London, studied at Croydon School of Art and the Royal College of Art (RCA) in the late 1930s, where she met her future husband, furniture designer Robin Day. Her RCA diploma show featured hand-block and screen-printed bold repeats, displayed alongside her husband's furniture, illustrating a nascent collaboration that would define both their careers. While their works often complemented each other, Lucienne Day forged a distinctive path in textiles, driven by a resolute modernist vision. Paula Day, Lucienne's daughter and director of the Robin and Lucienne Day Foundation, draws parallels between her mother's enduring influence and that of William Morris, highlighting the timeless quality of Lucienne's work. Paula suggests that Day's designs possess a "startling power and originality" that distinguishes them from many retro-style patterns. Lucienne Day sought to invigorate the textile industry with fresh, contemporary designs, drawing inspiration from modern artists such as Paul Klee, Joan Miró, and Alexander Calder, as well as decorative traditions from her studies at the V&A Museum. Plant forms, for example, consistently reappeared throughout her body of work. Her breakthrough came with 'Calyx', a stylized floral textile design launched at the 1951 Festival of Britain. This design, mixing muted and acid colors, was a radical departure in pattern aesthetics. Despite initial skepticism from Heal's fabrics director Tom Worthington, 'Calyx' proved immensely successful, leading to a two-decade-long collaboration with Heal's, during which she produced approximately 70 patterns for the brand. 'Calyx' remains in production today, a testament to its enduring appeal. Lucienne Day's style was characterized by continuous evolution, a responsiveness to fashion trends without merely following them, and an exploration of new artistic techniques. Early 1950s designs, such as 'Dandelion Clocks' and 'Trio', showcased quirky motifs rendered with fine black lines on solid colored backgrounds. Later, she experimented with monoprint techniques, creating textured effects through drawings on acetate sheets applied to tissue paper collages, as seen in 'Cadenza' and 'Night and Day'. Her architectural designs of the mid-1970s, including 'Apex' and 'Lucienne', led to her invention of "silk mosaics," a new textile medium using one-centimeter squares of richly colored silk to form strong abstract patterns. Among her vast portfolio, Paula Day finds 'Night and Day', a tea towel designed for Irish linen manufacturer Thomas Somerset in 1961, particularly poignant. This design, which perfectly balances a strong monoprint drawing of an owl with textured paper sun rays, symbolizes the relationship between her parents. Over her 60-year career, Lucienne Day collaborated with numerous prominent brands, including Liberty, John Lewis, Cole & Son, and Rosenthal, applying her distinctive flair to fabrics, wallpapers, carpets, homeware, and ceramics. Her unique combination of color, line, form, and composition created a recognizable style that continues to resonate decades later. Lucienne Day received significant accolades, becoming the first woman to be made master of Royal Designers for Industry in 1987 and awarded an OBE in 2004. She passed away in 2010 at the age of 93. In commemoration of her centenary, the Robin and Lucienne Day Foundation has released 100 previously unseen images of her work, which are featured on a 'Lucienne Day 100' poster and will be showcased in exhibitions, events, and awards throughout 2017. #LucienneDay #TextileDesign #ModernistDesign #BritishDesign #PostWarDesign #PatternDesign #MidCentury #DesignCentenary #DesignIcon

Anu Jain, founder of San Francisco-based firm Atelier Oleana, shares her inspirations for interior design in the 'What I Love' series. Jain's design philosophy is rooted in creating spaces that evoke emotion and a sense of nostalgia, drawing inspiration from textures, colors, and patterns that tell a story. She emphasizes a visceral pull towards materials with history, texture, and tension, aiming for interiors that are sensual, grounded, and luxurious, inviting touch and conjuring intimate and cinematic atmospheres. Her approach is about creating a feeling rather than adhering to a strict formula, resulting in spaces that feel both new and familiar. Jain's mood board reveals a rich palette of russet, gold, and fox-red, harmonized with cool marble and sea-colored velvet. She envisions these elements in a library or salon setting, designed for lingering and enjoying expertly aged amber liquids and worn leather-bound books. She meticulously describes each selection, explaining its role and the mood it contributes to the overall scheme. For instance, the 'Dark Marble Tile in Lilac by Artistic Tile' is chosen for its unexpected, romantic yet dangerous lilac veining, providing a grounding element with a crackle of energy. The 'Tiger Beat Fabric in Tabacco by Dedar' is described as a graphic, playful jacquard velvet that adds movement and modernity, likened to "jazz in fabric form." The 'Sayat Fabric in 07 by Zak + Fox' is valued for its linen-and-wool pattern that feels woven with memory, suggesting it was discovered in an antique market and adding depth and history. Silvery accents, such as a 'Small Round Metal Box by Zara Home,' are included to catch and reflect the iridescence of the velvet fabrics. The 'Voussoir Moderne Fabric in Sand by Schumacher' serves as the architectural scaffolding of the palette, providing shape to the softness without dominating. 'Calacatta Marble Tile in Bluette by Artistic Tile' offers serenity with its soft blue veining, acting as a counterpoint to the darker marble. The 'Timeo Fabric in Aiguemarine by Pierre Frey' introduces a moment of cool in an otherwise warm scheme, noted for its silky velvet texture and beautiful wear. The 'Schwarzwald Fabric in Bleu Nuit by Dedar' evokes a lush, enchanted forest at night, possessing a masculine elegance ideal for lounge chairs. A softer version of the Sayat pattern, 'Sayat Fabric in 08 by Zak + Fox,' provides a resting place for the eye while maintaining cultural resonance. A 'Spiral Coaster by Sophie Lou Jacobsen' adds a functional, sculptural, and joyful touch, reminding her not to take design too seriously. 'Mohair Velvet in Fox Tail by Rose Uniacke' is chosen for its luxurious glow, reminiscent of candlelight, and its golden, russet energy that adds soul. The 'Tiger Mountain Fabric in Fauve by Dedar' is a painterly, abstract, and primal jacquard velvet that softens other patterns and feels like emotion captured in brushstrokes. The 'Elko Plaid in Straw by Schumacher' brings a familiar, nostalgic warmth with a modern softness. 'Capriccio Fabric in Umber by Kerry Joyce Textiles' is described as sacred, hand-spun, and beautifully imperfect, like a leather journal passed through generations. The 'Amuleto Fabric in Ambra by Dedar' grounds the story with structured, symmetrical, yet soulful geometry. Finally, 'Silk Wallcovering in Tiramisu by Holland & Sherry' offers a quiet luxury with a delicious color and a soft, hushed glow, while 'Mohair Velvet in Glade by Rose Uniacke' brings a life-giving, mossy green, representing wildness to prevent the room from feeling too precious. #InteriorDesign #AnuJain #AtelierOleana #MoodBoard #LuxuryFabrics #HomeDecor #MaterialSelection #DesignInspiration #TextileDesign