Fashion Designer Brandon Maxwell Wrapped His Sister’s Nursery in Fabric for Two Reasons

Woven fabrics contribute significantly to interior design by introducing softness, warmth, and a subtle textural element that printed cloths cannot fully replicate. The inherent tactility of woven textiles often gets lost in two-dimensional images, making it challenging to distinguish them from printed patterns. However, woven cloth possesses superior strength and offers a comforting quality due to its integrated design, ensuring its longevity. Ireland, with its rich history in weaving, continues to host several long-standing companies that are adapting to modern demands. Foxford Woollen Mills, established in 1892 in Co Mayo, exemplifies this adaptation. While traditional blankets have seen a decline in popularity due to the rise of duvets, throws have experienced a resurgence, particularly during the Covid-19 pandemic. Joe Queenan of Foxford Woollen Mills notes an increased demand, attributing it to both a surge in outdoor dining and a consumer desire to support Irish businesses. He highlights that in times of crisis, consumers gravitate towards reliable, ethically produced goods, willing to pay a premium for quality. This trend is evident in the popularity of Foxford’s high-end cashmere throws, as well as the renewed interest in mohair products. Similarly, John Hanly, a family-run business since 1893 in Ballyartella, Co Tipperary, primarily known for supplying international fashion houses, also offers a contemporary homeware range. Their collection features throws in lambswool, cashmere, and mohair, showcasing vibrant colors. While they rarely receive requests for upholstery fabric, Brian Hanly, the current head, expresses openness to exploring such opportunities, acknowledging the rigorous testing required for durability and fire resistance in upholstery. The viability of short production runs for upholstery fabric, however, remains a challenge. Mourne Textiles in Co Down stands out as one of the few Irish weavers providing upholstery fabric by the meter. As an artisan company specializing in hand-woven products, they accommodate smaller production runs, which impacts pricing. In contrast, Botany Weaving, founded in 1934 with factories in Dublin and Donegal, caters to large-scale contracts. They supply woven textiles for aircraft upholstery, curtains, and carpets for over 120 airlines. Recognizing a shift in market demand, Botany Weaving has expanded into contract furnishing. David Lawson of Botany Weaving mentions that some of their durable, well-designed, and predominantly wool fabrics could be suitable for residential use, often sold under other furniture brands rather than their own. Interior designer Oisín MacManus of Ollas Design emphasizes the role of woven textiles in adding texture to interior spaces. He notes that woven items, typically incorporating multiple colors and materials, invite interaction and add depth to a room, unlike flat surfaces. MacManus uses a sofa upholstered in Glen Marsh from Botany Weaving as an example, highlighting how its varied colors create visual interest and texture. Margo Selby, an English weaver and textile designer, collaborates with industrial mills while also creating her own woven artworks. She stresses the craft inherent in setting machines to produce fabric and the skill of textile technicians. Selby is launching a collection of 23 curtain and Roman blind fabrics with Hillarys, a British brand known for its fitting and consultation services. Her designs are geometric, featuring a mid-century color palette, and are specifically tailored for contemporary homes. Selby observes that people often struggle with selecting window dressings for modern builds, often opting for generic solutions. Her collection, available in ochre and silver, teal and green, and indigo and ink, offers strong yet minimal patterns designed to complement contemporary architecture and add a vibrant touch to interiors. The collection is set to launch on October 12, with prices starting from €289 for curtains and €189 for Roman blinds, inclusive of measuring and fitting services. #WovenFabrics #InteriorDesign #TextileDesign #IrishWeaving #HomeDecor #MargoSelby #FoxfordWoollenMills #JohnHanly #BotanyWeaving

This article details how Christina Bryant Herbert, founder of the home brand St. Frank, designed her son France’s nursery in her New York City rental apartment. Unlike traditional nurseries filled with new furniture and pastel colors, Christina opted for a sophisticated, personal space utilizing hand-me-downs, vintage finds, and globally inspired textiles from her own company. The nursery also functions as a guest room, with a full-size bed proving useful during the challenging newborn phase. The design approach began with a versatile foundation, involving a soft blue wall color chosen to complement an existing upholstered bed and suitable for a baby's room. For furniture, Christina prioritized character and sustainability, sourcing most items secondhand from platforms like Chairish and 1stDibs. This choice reflects a preference for vintage pieces that can adapt over time, though a new crib was purchased to ensure safety. The overall aesthetic is layered, allowing elements to be easily relocated if the family moves. A key design decision involved using statement curtains instead of wallpaper, a practical choice for a rental apartment. Floor-to-ceiling drapes in St. Frank’s Teal Vines Suzani fabric, featuring a traditional Turkish tree of life embroidery, provide a significant visual impact. These panels offer flexibility as they can be re-hemmed for new windows or even repurposed for upholstery, a more permanent solution than wallpaper. This approach allowed for a strong pattern without the commitment of a landlord-unfriendly alteration. Christina emphasizes the use of forgiving fabrics, particularly washable natural fibers like cotton and linen, often in vibrant patterns that can conceal stains. An example is the Shell Psychedelic Kilim fabric, a Turkish flat-weave replica, used to reupholster a chair. This choice demonstrates a practical yet stylish solution for a child's room, ensuring durability and ease of maintenance without sacrificing aesthetic appeal. The selection of such textiles is crucial in creating a functional and beautiful nursery that can withstand daily use. Textiles and toys are treated as art within the space. An antique kantha quilt, which inspired the founding of St. Frank, hangs above the changing table, along with a vintage American quilt from Christina’s own childhood nursery displayed on a high shelf. While these are cherished pieces, they are positioned out of the reach of playful toddlers. Additionally, stuffed animals are displayed on lower ledges, and unique items like an antique doll’s chair, found by Christina’s mother, are mounted on the wall as decorative elements. This creative use of objects adds personality and a sense of history to the room. Finally, the nursery features a generous arrangement of pillows on the guest bed. Christina, who typically has limits on pillows in her main bedroom, enjoys the freedom to pile them on a bed that isn't frequently made, highlighting the room’s dual function and offering a designer's abundance of textiles. This detail contributes to the overall cozy and layered feel of the nursery, blending practicality with a rich, curated aesthetic that is both personal and adaptable. #NurseryDesign #KidsRooms #HomeDecor #VintageFinds #TextileDesign #RentalDecorating #SustainableDesign #GloballyInspired

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

Textile designer Aelfie Oudghiri's Brooklyn townhouse, shared with her husband, Hicham, and daughter, Mirah, serves as a living showcase for her eponymous line of bedding, soft goods, rugs, and furniture. Housed in a former industrial pencil factory, the 1,800-square-foot space reflects an easy, comfortable, and effortlessly stylish aesthetic deeply rooted in Oudghiri’s upbringing. Her parents, both builders and developers, introduced her to the transformative power of design early on, and an oversized Kerman rug from her childhood ignited her passion for textiles, inspiring her eventual career. Many pieces in her home are samples from her company, allowing her to live with and test products before their official launch, ensuring they are practical and durable. Oudghiri's journey into design began with an e-commerce store in her teens, focusing on products made by other young women, which taught her the foundations of design. Her childhood dream, however, was to design bedding, driven by frustration with the gendered, corny, or poor-quality synthetic options available at the time. Her early sketchbooks are filled with bedding concepts, foreshadowing her future in textile design. When designing her home, the living room was the starting point, prioritized for its comfort, openness, and suitability for entertaining. Her Moroccan husband influenced the layout, seeking a space reminiscent of a Moroccan salon with ample seating for guests. This led to the inclusion of a mint green sofa from CB2, praised for its durability, and another from ABC Carpet & Home. Oudghiri approaches home design with a lack of inherent attachment to spaces, a common sentiment in New York, preferring to evolve the design slowly. Her access to her own home decor line means her apartment is filled with a complementary array of her designs, from bath mats and pillows to poufs and tables, all serving as practical testaments to their wear and tear resistance. A key design element for Oudghiri was baby-proofing and creating a kid-friendly environment for her daughter, Mirah. The massive, open layout allowed for a play-friendly space free from hard obstacles or fragile items. The open and industrial nature of the former factory presented challenges in making the space feel cozy and welcoming. Oudghiri overcame this by strategically using rugs and artwork to soften the industrial brick walls and warm up the cold aesthetic. Her favorite aspects of the home include the exposed beams, high ceilings, abundant wall space for art, and the intricate texture of the floors. A design element she recommends for readers is foregoing a traditional coffee table in favor of side tables and poufs. This decision, initially driven by an inability to find a beloved coffee table, later proved invaluable for creating a large, open play area for her daughter. Visitors often comment on the home's established feel, assuming Oudghiri has lived there for a long time, despite only a few years passing, indicating the successful integration of her personal style and products. #TextileDesign #BrooklynHome #HomeTour #InteriorDesign #ColorfulDecor #PatternMixing #KidFriendlyDesign #IndustrialConversion #DesignerHome

When designer Jewel Marlowe and her family of five moved from Rhode Island to Virginia in 2019, her two young daughters, aged 10 and 7, expressed dissatisfaction with their previous shared bedroom. This prompted Marlowe to seize the opportunity to design a new space that truly resonated with them. The girls were actively involved in the design process, beginning with the revamp of their bunk bed. The overall design inspiration for the room was a preppy interpretation of a French apartment, incorporating elements of Art Deco and 1950s glamour. Marlowe decided to upholster the simple white wood bunk bed to enhance its visual appeal and align with the room's aesthetic. For the upholstery fabric, Marlowe presented her daughters with an edited selection of two dozen textile options from Spoonflower, treating them as clients in the decision-making process. The chosen fabric was the "Enchanted Bunny Prince" by designer Esther Fallon Lau, a pattern that was customized by enlarging its scale. Marlowe acquired 11 yards of this fabric to commence the DIY project. She then detailed the steps involved in upholstering the bunk bed, emphasizing that advanced sewing skills are not a prerequisite. The first step involved closing the gaps at the head and foot of the bunk bed to create more surface area for upholstery. Marlowe opted for an unconventional yet effective solution: leftover cardboard boxes, which she cut into rectangles and stapled into place. Next, to achieve a plush appearance, one layer of batting was wrapped around the head, footboard, and the upper bunk's rail. Marlowe noted that she initially covered all three boards but later made small slits between the top two for a more tailored finish that complemented the room's scale. Due to the patterned fabric, which required the bunnies to sit upright, Marlowe had to create two seams on each upholstered section. She explained a technique involving stick-on adhesive tape between seams, ironed to fuse the pieces, and then reinforced with a sewing machine. Once the fabric pieces were sewn, they were draped over the railings and stapled at the bottom, top, and sides, with adjustments made using a staple remover if necessary. The fabric was folded under the bottom side of the top bunk and secured. This stage also offered the opportunity to cut slips directly into the corners of the rail boards for a pristine result. For those opting to add a coordinating bed skirt, the same upholstery directions apply. Marlowe suggested wrapping two layers of batting around the base section and aligning the skirt to skim the floor before stapling it along the back. To achieve a professional finish, double-welt piping was used to conceal the staples. Marlowe created a special welt for the gaps around the top rail boards, leaving an inch of empty space between the cords. She highlighted the availability of YouTube tutorials for this technique and mentioned reinforcing loose parts with glue. The upholstered bunk bed has remained durable over three years, with only the piping near the ladder requiring occasional restapling. Despite the DIY being a permanent fixture that would be left behind if the family moved again, Marlowe concluded that the risk was worthwhile, as everyone was ultimately happy with the personalized space. #DIYProject #BunkBedUpholstery #KidsRoomDesign #HomeRenovation #InteriorDesign #TextileSelection #StapleGunCrafts #PatternedFabric #CreativeSolutions

Contemporary artist Kiki Slaughter has launched her inaugural collection of textiles and wallcoverings, translating her original painted works into designs for home interiors. This endeavor stems from her belief in integrating “art everywhere,” a philosophy she first implemented in her own Dutch Colonial-style home in Richmond, Virginia, built in 1967. The house, acquired from its original owners, provided a robust foundation for her artistic expression, offering 3,886 square feet across four bedrooms and four bathrooms to infuse with color and unique patterns. Slaughter's approach to home decoration mirrors her painting process, focusing on layers of color, texture, and composition to achieve balance and individuality. Her artistic vision extended to personal touches, such as transforming her children’s doodles on bedroom curtains into a wallpaper pattern called ‘Scribble,’ which became a cornerstone of her collection. This collaborative effort with her children not only fosters their creativity but also contributes to their future education fund through proceeds from their designs, which also include a pattern based on her son’s watercolors named ‘Marks.’ Her home showcases an eclectic blend of styles, from contemporary art and family heirlooms to antique finds, creating a narrative of cherished possessions rather than perfectly matching items. Slaughter describes her aesthetic as “buttoned-up bohemian,” integrating diverse furniture pieces like Chinese screens, Swedish chairs from her husband's grandparents, and a custom table crafted by a friend. She also values trading her art with fellow contemporary artists, enriching her personal collection with works from individuals like Sally King Benedict, Kathleen Jones, Abby Kasonik, and Blackwell Botanicals, including meaningful pieces from her mentor, Karen Shea Silverman. The renovation of her home primarily involved painting the interior and exterior, a facelift for the kitchen, and updates to the main, kids’, and basement bathrooms, alongside the addition of a laundry room. While no walls were moved, the extensive application of her custom wallpaper throughout three bedrooms, two bathrooms, and the dining room significantly transformed the space. Slaughter was strategic with her budget, prioritizing specific projects and opting for cost-effective solutions such as incorporating handed-down furniture and antique store finds rather than new purchases. Her collection aims to inspire homeowners to embrace creativity and design outside conventional norms, making art accessible for everyday living. Slaughter plans to expand her collection with new patterns and collaborations, including custom lampshades designed to complement light sculptures by Abby Kasonik. She encourages a personalized approach to home decor, where each item contributes to a unique and meaningful story within the living space. #KikiSlaughter #HomeDecor #TextileDesign #Wallcoverings #ArtInspiredInteriors #RichmondVirginia #CreativeHome #DIYDecor #ArtisticCollaboration

Naomi Coe, founder of California-based design studio Little Crown Interiors, led the creation of a luxurious and functional nursery for real estate moguls in Beverly Hills. The 275-square-foot space was transformed into a "cozy, luxurious, and girly" environment for their new daughter, blending existing pieces with modern and traditional elements. The design process began with the client's request to incorporate a cherished Edra sofa, which served as a focal point around which the color palette of whites, pinks, and bronze accents was built. A key aspect of Coe's design philosophy for nurseries is ensuring the baby's crib is placed in a safe and central location. For this project, a Nursery Works crib, chosen for its all-acrylic construction, was positioned on the back wall opposite the sofa. This selection introduced a modern touch that harmonized with the home's traditional architectural features, while also contributing to an open and airy feel within the room. Blush hues and diverse textural elements were integral to achieving the desired aesthetic. Notable additions included a custom Kifu Paris changing table and a striking Alexander McQueen-designed rug. The rug, described by Coe as the centerpiece, introduced a whimsical element characteristic of a nursery while maintaining sophistication through subtle black accents, fulfilling the client's desire for an elegant yet playful space. To further enhance the room's traditional aspects and leverage its architectural features, Coe and her team looked to the ceiling. They collaborated with Rebel Walls to customize a wallpaper design that would fit the high, inset ceiling, creating a distinctive statement piece. The chosen color and pattern added a new dimension to the room, drawing the eye upward and contributing to the overall dreamy and curated atmosphere of the nursery. The project successfully combined practicality with high-end design, delivering a personalized and elegant space for the new family. #NurseryDesign #InteriorDesign #LuxuryInteriors #BeverlyHills #LittleCrownInteriors #HomeDecor #FeminineDesign #ModernLuxury #ResidentialDesign

The article introduces Inner Child, a home decor brand founded by Michelle Pham, which specializes in colorful, handmade, maximalist decor. The author, Tori Polizzotto Jones, shares her personal journey from a minimalist aesthetic to an appreciation for maximalism, influenced by sentimental family heirlooms. This shift in personal style led her to discover Inner Child, a brand that resonates with her newfound love for vibrant and expressive home furnishings. Michelle Pham, the founder of Inner Child, explains her inspiration for starting the brand. She observed a gap in the U.S. market for accessible, handmade textiles and crafts, which are often found only through extensive travel. Her aim was to bring these unique, artisanal items to a broader audience. Inner Child's products are distinguished by their 100% handmade nature, encompassing fabrics, patterns, and textures. The brand offers a variety of home linens, including blockprint tablecloths, napkins, placemats, and table runners. Additionally, Inner Child has developed a sustainable practice by creating recycled paper goods from leftover cotton textile production. The brand's name, 'Inner Child,' reflects Pham's philosophy that joyful and whimsical decor should not be outgrown. She notes that while adult tastes often lean towards muted, minimalist palettes, children instinctively gravitate towards color and experimentation. Inner Child seeks to reintroduce this playful approach into adult homes, encouraging consumers to embrace delightful and colorful items. The brand continuously innovates, transforming new design ideas into stitched realities quickly to meet consumer desires for vibrant home aesthetics. Among Inner Child's bestsellers are the Ocean Wave Waste Bin, made from hand-marbled and block-printed recycled cotton papers. This collapsible, sustainably made bin serves both as a waste receptacle and a chic storage solution. Another popular item is the Araminta Toiletry Bag, available individually or in sets of three. These bags are designed for functionality, featuring four inner pockets and a wipeable plastic liner, with fabric hand-block printed by an eighth-generation artisan team. The Purple & Blue Checkered Reversible Sujani Quilt is another standout, crafted by one of only two remaining families globally practicing the Sujani weaving technique. These cotton-filled quilts take over 16 hours to handloom and offer a unique 'puff pillow' effect. Pham's inspiration stems from her childhood experiences, including reading extensively about crafts and textiles, and traveling widely in her twenties, which exposed her to diverse crafts and ways of living. Her mother, a talented seamstress, also instilled in her a deep appreciation for colors, patterns, and fabrics from an early age. Living in New York City further provides daily inspiration from fashion and people's choices. Pham also sheds light on the realities of running a small business with handmade products. She single-handedly manages all aspects of Inner Child, from design and production to warehousing, shipping, and marketing. This hands-on approach has given her comprehensive mastery over her business operations, from recognizing ideal shipping boxes to understanding fabric compositions and maintaining daily communication with artisans. Despite the immense workload, she finds the work highly rewarding, emphasizing that it is a constant, demanding endeavor rather than a typical nine-to-five job. The brand's core message is to promote the accessibility of handmade items and to encourage adults to embrace joyful and whimsical home decor that allows for self-expression and happiness, regardless of age. #HomeDecor #MaximalistStyle #HandmadeProducts #SmallBusiness #MichellePham #InnerChild #TextileArt #SustainableDesign #Entrepreneurship