
All That Glitters
The Salon Art + Design fair this year showcased a prevailing aesthetic in interior design, moving away from deeply saturated and moody color palettes towards a resurgence of iridescent and reflective surfaces. While earlier trends favored dark burgundies, chocolate browns, elaborate millwork, densely floral wall coverings, and intricate tile floors, alongside dark-toned woods with textured details and marquetry, the fair demonstrated a shift. This new direction introduced shimmering elements like gold leaf, patinated bronze, textured steel, tinted glass, and resin, applied across a range of items from chandeliers to chairs. This integration of reflective materials serves as a luminous counterpoint to the previously dominant somber tones, suggesting a desire for optimism and lightness in design.
Key pieces at the fair exemplified this trend. Nathalie Ziegler’s *Milano Chandelier*, presented by Twenty First Gallery, captivated with its iridescent and sandblasted glass elements. Its pixel-like form, loosely inspired by neoclassical designs, showcased intricate handblown and cut glass pieces collaged together to diffuse light uniquely. JG Neukomm’s *Abditio Cabinet*, displayed by Charles Burnand Gallery, featured four mirrored glass doors that mimicked artichoke petals. These doors, crafted from uneven and bubbly glass layered over mirrored sheets, shifted between transparency and opacity, contrasting with the cabinet's somber blackened steel body.
Sam Orlando Miller’s *Cielo Nuovo Iris* wall-piece, exhibited by Gallery FUMI, utilized faceted dichroic glass to create a colorful, mirrored gemstone effect. This was achieved by applying thin layers of metal oxide to refract light, a technique enhanced by an additional layer of paint for further light diffusion. Also from Gallery FUMI, Voukenas Petrides’s *Split Tube Chair*, forged from bronze, defied the metal's typical appearance by being polished to a fully reflective state. Its design, suggestive of a peeled, divided cylinder, maintained visible folds and curves, allowing light to reflect in multiple directions, highlighting its delicate yet hardy nature.
Maarten Vrolijk’s *Sakura* pendants, showcased at Todd Merrill Studio, were glass vessels adorned with jewel-toned fragments embedded in their thick bases. These shattered elements, incorporated while the glass was semi-liquid, engaged light from various angles, amplified by a gold-foil-covered wall. Pierre Bonnefille’s *Bronze Painting 229*, presented by Les Atelier Courbet, explored the effects of liquid metal on a flat surface. Using craft techniques on copper, pigment, and wood, Bonnefille demonstrated how molten material could drip, ripple, and solidify into glossy finishes on a mesh base.
Mathieu Lehanneur, known for his material experimentation, debuted new pieces at his own booth, including the *Balcony Sideboard*. This cast metal piece featured a ripple-like outer shell, translating the movement of water waves into a solid form, creating dramatic shadows and a pearlescent effect. Nicolas and Sébastien Reese’s *Acamas* mirror, displayed by Galerie Carole Decombe, blended painting with reflection. Its main mirror, encased in a notched aluminum frame, presented a warped, blurry, and cloudy surface with increasing oxidation around the rim, causing objects to appear as ghostly figures within the frame.
Finally, Henry Baumann’s *Excessive Boo* bench, presented by Wexler Gallery, featured colorful, bubbling elements made from semi-translucent, shiny resin. These components, when combined, created an iridescent and fluid appearance, resembling a collection of balloons compressed into a rectilinear shape. Overall, the fair underscored a significant design movement towards incorporating diverse reflective materials and techniques to introduce luminosity, depth, and a sense of visual intrigue into interiors, balancing out the earlier preference for darker, more intense aesthetics.
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