The Omicron-induced cancellation of international design events like Maison & Objet and Déco Off denied countless designers the opportunity to debut new collections abroad. The convention-less season, however, prompted a group of publicists to launch Paris in New York, an event intended to transfer the thrill of European events for designers eager to showcase new work. With New York City just past another exhaustive wave of the pandemic, a dynamic body of designers convened last week, adhering to pandemic protocol, at the New York Design Center and the Design and Decoration Building. Here are several highlights of the collections seen from January 26-28th at an unprecedented event.
Brent Warr’s Woodfin collection combines his experience in architecture with a modern bent towards the simplistically usual. Sculptural tables, lighting fixtures, and floor-length mirrors draw an industrial structure from a blend of plaster, wood, and mixed media.
Sarah Von Dreele debuted six new fabric patterns at Paris in NY as part of her Resilience collection. Each design, from the crisscrossing Mac, in several distinct palettes, to the airy, atmospheric Brian seen above, sears with vibrancy against a subtle backdrop.
The Vale London debuted Sloane, a heavenly collection inspired by all things in the sky. Sloane’s Iter pattern, named for a constellation meaning “arrow” in Latin, drives towards a peak in multi-toned layers of cotton fabric.
Durable and dynamic, Samuel & Sons’ Julienne collection is woven from mercerized cotton yarn. Julienne comes in a selection of 143 colors and, with eleven metallic shades in piping and double welting, offers hundreds of combinations.
Fromental’s Flock design epitomizes the British firm’s lush, elaborate technique in a hand-painted, hand-embroidered wallcovering, while Deco Arches introduces a minimalistic flair in the same collection. Both designs follow the firm’s lengthy creation process grounded in skilled craftsmanship and sustainability.
Pollack’s new collection “After Hours” offered a range of patterns ranging from dreamy to robust. The gentle Fantasy Land, dotted with delicate foliage, counters the bluntness of the houndstooth Dandy.
KGBL debuted their Zaragosa side table, crafted from color contrasting marbles and featuring a subtle side drawer. The furniture company’s coffee table of the same name offers another contrast by grounding the Calacatta marble tabletop on wood sides of American Black Walnut or Fumed White Oak.
Morris & Co. partnered with English architect Ben Pentreath to introduce an eclectic line of fabrics. In Cornubia, the designers pay homage to Pentreath’s family roots in Cornwall, tracing radiant foliage and seaside landscapes in a variety of patterns and colors.
Fabricut collaborated with designer Christiane Lemieux on Material Archive, a collection of fabrics featuring both subtle patterns and spirited scenes. The light, mesh-like Annecy provides a rich contrast to the bold image seen above in the Troyes design – combined, Fabricut and Lemieux offer a luscious selection.
Cortina Leathers’ Allora collection, in collaboration with textile designer Virginia Langley, transfers the color palette of rural Tuscany to durable bull hides with an aniline finish.
Weitzner introduced a bright line of fabrics aptly called Uplift. Suitable for wallcoverings, upholstery, and more, Uplift includes Lanai, a lacy leaflike pattern twisting and turning in a perfectly molded print, and Abundance, an overlap of blooming flowers against a neutral background.
Digital printing studio Western Sensibility prints designs with non-toxic inks onto recycled paper, before transferring the print to fabric under heat. The studio showcased a range of quirky designs at Paris in NY, including the colorful Lovers featured on plain white drapes.
Inspired by modern artists of the last century, including Pablo Picasso, Clarence House’s 20th Century Collection draws deeply from a vivid color palette and geometric convention.
Hartmann & Forbes partnered with Amy Meier to design a line of window treatment textiles, including the busy Newsprint, overrun with rectangles and stitches like columns and sentences, and the lovely Dapple, opaque in a parchment tone.
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