Repeat. No Repeat.

FilzFelt joins the Knoll family

Knoll had not one but two big announcements this week, including the exciting news that they acquired FilzFelt. The modern furniture giant purchased FilzFelt - a small woman-owned company based in Boston that has been selling felted wood textiles - in order to increase their portfolio of desirable goods and materials for both the commercial and residential markets. FilzFelt joins leather companies Spinneybeck and Edelman as Knoll-owned companies producing luxury goods for the A&D community, and it seems to be a smart pairing.

The wool felt produced by FilzFelt is milled in Germany at a wide width (up to 71") and is available in many different formats. Not just intended for upholstery, felt has structural and dimensional stability and can be used in appropriate thicknesses as an architectural material for screens, wall and ceiling panels, and flooring. It can be die-cut, water-jet cut, laser-cut, laminated, stitched, or receive an adhesive so there is inherent flexibility in the installation of felt as a material. Since the felt is 100% wool, it is natural and biodegradable, renewable as a resource, and is warm and resilient. It has wonderful acoustic properties, and provides insulation. It is also non-directional, which makes it most flexible as a material with little waste factor. It is also water resilient, another feature from the wool fiber which contains lanolin - a natural protectant for sheep's coat. And if that's not enough, wool is also inherently flame retardant. FilzFelt has tested their products tro ASTM E84 standards, and rates as Class A for dyed products (Class B for undyed). It comes in five thicknesses (1/16" up to 3/8") for the various architecural applications, and 58 colors. Speaking of color, since wool is porous as a fiber, it takes dyes beautifully, leaving true clean saturated color behind in gorgeous hues. The color palette used bu FilzFelt was established with a select grouping from the Pantone PMS system, but for a mimimum you can get any custom color. Another bonus working with felted wool is that since it's non-woven, it can be cut without compromising the structure of the fabric, and therefore you can have exposed edges if desired.

FilzFelt screens used in a corporate pantry

FilzFelt wool rug with decorative stitching detail

It Takes Two: Kiki and Joost for Bernhardt

Bernhardt has not one but two new product launches from Dutch duo Kiki Van Eijk and Joost Van Bleiswijk. Kiki and Joost are not only married but share a studio, although they typically work on separate projects. Their launch for Bernhardt includes a large textile collection of forty fabrics comprised of five patterns and one chaise, aptly named "Workshop" after their love of craft and hands-on approach in their studio. The addition of the chaise was a fluke - Kiki and Joost created one just to display the fabrics at home, and Bernhardt loved it so much they added it into the line. As for the collaboration, Joost was a bit out of his element designing textiles, being primarily an industrial designer of objects in metal and wood. He usually focuses on creating objects that have historical references and speak to hand craftsmanship and purity of design (he is currently working on a line of furniture with no screws or glues). So it was a challenge to collaborate with Kiki, who is more well versed in patterning, textiles, and carpet. He looked around their studio and took three dimensional objects that could create a 2D pattern once translated into a different medium. For example, Block (shown below) was designed by combining wooden bars and squares, which were then coated with spray paint and layered with paper tape. Kiki then worked on the layers of pattern and texture until satisfied with the end result.

Block by Bernhardt Textiles

So back to the chaise: the intent is that the designer can mix-and-match fabrics to create a more whimsical object. The chaise comes with a series of fixed and loose pillows, making it easy to do so. This is Kiki's influence here, as she is known for layering patterns and colors to create a pleasing palette.

"Workshop" Chaise by Bernhardt

Kiki and Joost came out of the Design Academy at Eindhoven in The Netherlands, which has a nice reputation as being one of the best design schools in the world due to the acclaim brought by faculty and alumni such as Kiki and Joost, as well as designers from Droog, Moooi, and Ikea. Toord Boontje, Maarten Baas, Marcel Wanders, Bertjan Pot, and Hella Jongerius are also alumni. In the US, products designed by Kiki and Joost are available at MOSS in New York, and "Workshop" is available through Bernhardt.

Kiki and Joost

A Look Back: The Best Stuff of 2011

What a year! With all the product releases and introductions, you would never know the economy is still slow. Manufacturers are meeting the demand for good design by consumers and end users, whether it be intended for personal use or on commercial projects. Good design is everywhere (Amen!), as evidenced by the slew of products that made their way across our desks and into our consciosuness. So what was the best stuff of 2011? Let's take a look back....

Row 1 (L to R): HBF - Nest, B&N - Infused Veneer, Allermuir - Octo, Bernhardt - Apel, B&B Italia - Tufty-Too. Row 2: 3Form - HighRes Imagery, Zero - Fisherman, Sancal - Tab, Lama - LED carpet, Vitra - Jill. Row 3: Brentano - Sputnik, KI- Itoki DP, Vibia - Wind, Axor - Axor Bouroullec, Milliken - Fixate. Row 4: Davis - Gingko, Mutina - Phenomenon, Andreu World - Nub, Tom Dixon - Base, Fritz Hansen - Favn. Row 5: B&B Italia - Husk, B.Lux - Around, 3Form - Timber Latitude, Bernhardt - Forest, Davis - Sola.

Row 1 (L to R): Kartell - Comback, Plumen - Plumen 01, Haworth - Reside, Beside, Belong, Davis - Kontour, Steelcase - Soto II. Row 2: Skyline - 5+ Collection, Carnegie - Pixie Applique, Knoll - Krusin Guest, Unika Vaev - Ilias Collection, Keilhauer - Moss. Row 3: Lori Weitzner - Cinema Posters, Corque Design - Puf String, Leland - Ebb, Infiniti - Loop 3D Vinterio, Martin Brattrud - Kurve. Row 4: Murano Due - IXI Lights, Dune - Asteroid, Bend - Farmhouse, Buzzispace - Buzzihub, Duravit - Darling. Row 5: Geiger - Loophole, Humanscale - Trea, Coalesse - Sebastopol, Lobmyer - One Crystal Chandelier, Coalesse - EMU Pattern.

From the UK to You: Sting

Camira Fabrics, an established textile manufacturer based in the UK, is looking to make a big splash in the US with their line of products using natural fibers. Besides a well-priced fantastic line of wools in rich colors and fun patterns that designers will drool over, Camira offers three collections that are sustainable and part of their Second Nature line. Camira is not new to sustainability, as their first introduction in this realm was a recycled woolen fabric for upholstery that was made from discarded Army sweaters. Today, the Second Nature line features fabrics that are pure new wools, climate neutral wools, and natural rapidly renewable textiles made from plants. This latest introduction is called “Sting”, which is comprised of fiber made from stinging nettles. Four years of research and development have yielded this unique textile, which is a blend of wool and bast (stem) fiber derived from nettles without any pesticides or chemical processing. The end result is a wool-like fabric that has great hand and durability, with stretch and fire retardancy. The R&D process went through all stages, including growing, harvesting, fiber extraction, fiber processing, blending, weaving, dyeing, testing for technical properties, and life cycle assessment. The “Sting” fabric is made in Huddersfield, UK, where Camira blends and spins the fiber on looms powered by green electricity. The fabric is piece-dyed using non-metallic dyes and a natural water supply. This is sure to be a go-to choice for designers looking for sustainable fabric alternatives to synthetics that seem to dominate the market.

Detail of Sting in a plum colorway

Did you know? Nettles have long been know to have medicinal properties (despite the sting!), and they are used in all kinds of beauty products as well as food and beverages

Kling Stubbins takes Product Runway's Grand Prize

The Atlantic City/Philadelphia chapter of NEWH hosted its first Product Runway event on Thursday evening at Harrah's casino. NEWH is a networking organization for interior designers and product vendors working in the hospitality industry (that means designing for hotels, restaurants, bars, nightclubs, casinos, and retail). So Harrah's at the Pool was the perfect venue for nine Philly area design firms working in the hospitality market to compete for the grand prize, using materials typically reserved for building materials and construction. Each firm is paired with a sponsor vendor and must exclusively use that's company's products in the construction of the outfit.

This was not the first fashion show to be done in the Philly region - IIDA had sponsored three "Finish Meets Fashion" events in years past, with the most recent one being in 2004. And Product Runway is also no stranger, being done in cities around the country. But for this marketplace, Philadelphia has been hungry for another chance to participate in such an event and thus the local NEWH chapter brought it to fruition. And on with the show...

After all was said and done and the nine models donned the runway, the three judges selected only one winner for the grand prize - Kling Stubbins in Philadelphia. As these gals are my co-workers and close friends, this is a huge thrill to say the least, and we can safely say that it is a well deserved honor after seeing the design process and production up close. Representing KS on the runway was Senior Designer Jennifer Thorsen, who channeled a modern-day warrior wearing a creation fabricated from materials donated by Designtex. Our team's submittal required a written description of the concept:

Life is filled with dualities that create tension: Light and Dark, Yin and Yang, Black and White. In our intense and chaotic world, the modern warrior wears this tension like a cloak – shielding the darkness and embracing the light. The warrior soldiers on through the mire hoping to be refreshed and reborn from the hospitality of others, if only a brief respite from the mayhem of this world. Our warrior is outfitted in multi-facted materials from Designtex that have an implicit duality, protecting her from life’s battles. Proudly donning textiles made from cassette tapes, corn, vinyl, and window shades – and further accented by resin, our modern hero is ready to take on any challenge. And once the day is done and challenges are won, our hero lets down her guard and transforms into an ethereal goddess, embodying the true sense of balance and serenity. This state is one of inner peace and harmony. Once the cycle is complete, our warrior once again embraces the trials of a new day.

The materials used from Designtex were mainly textiles, but all were challenging and unusual to work with on the human form, starting with Sonic - a black fabric made from recycled cassette tapes. The Sonic fabric was fused with Ingeo, a die-cut white fabric made from corn (the starch is used to create the fiber). These two fabrics created the cape-into-skirt panels, and you see each side depending on which version the model is showing (up in cape mode shows the black, and down in skirt mode shows the white). The asymmetrical off-the-shoulder top was crafted from window shade trevira called Cinq, then embellished with white vinyl appliqués. A silver version of shade fabric was then cut into strips and woven into one leg of the the black patent leather (vinyl) pants, as well as forming a woven belt, necklace, and armband. Further enhancing the look were pieces of Fusion resin, machined into clasps and toggles, as well as the signature "brass knuckes" ring! And in true industry fashion, no look is complete without some incredible styling - Jen's hair and makeup were fierce, befitting a warrior-turned-goddess.

Sonic fabric - made from recycled cassette tapes -by Designtex

Ingeo fabric - made from cornstarch - by Designtex

Congrats to the Kling Stubbins design team, led by Senior Designer Pier Derrickson: Allison Beaird, Samantha Fletcher, Jaci Price, Michelle Prieston, Cassandra Wagner, Jamie Wrenn and of course our model, designer, and muse Jen Thorsen.

Energize with Creation Baumann

Creation Baumann, the Swiss manufacturer known for their innovative and striking window treatment textiles (i.e draperies and sheers), have introduced "Energy" - a laser-cut fabric that has an origami-like pattern created from slits. This drapery fabric mimics the look of cut paper, and yet is made from polyester and cotton. A full piece includes an upper solid border, to facilitate sewing and fabrication into a usable window treatment or room divider. "Energy", when hung showing the full repeat, creates a dynamic and sculptural effect that transcends traditional warp-and-weft fabric and offers a three-dimensional alternative. Only available in one colorway - white (shown above), this fabric is sold only by the piece which is 55" x 118". Can't wait to use this!

Neocon Spotlight: Snapshots from the Mart - Part Two

Haworth showroom designed by Clive Wilkinson   

Haworth designers Nicolai and Michael showing off the Very chair

Mayer Fabrics collaboration with SCAD 

Nigel Scott-Williams of Vitra demonstrating the sturdiness of Joyn

Models at Designtex

Stylex showcases the new Sava chair  

The deconstructed panel at Herman Miller: it's felt!

Felt at Herman Miller materials library  

Mark Toth from Skyline Glass showing off their new custom digital program

Steelcase showroom with view of Node seating for education  

Wall panels from Arktura 

Pixels at the Gunlocke showroom 

John Rouse and Vito Salvatore of Contract magazine

Allsteel's new Seek chair - it stacks and nests!  

Check out the complete Neocon 2010 Photo Album here.

Neocon Spotlight: Snapshots from the Mart - Part One

 
Bernhardt's new Corvo chair, designed by Noe Duchaufour-Lawrance

Gold award winning Site collection at Davis

Laura Guido-Clark presenting Breaking Monotony at HBF to Pratt students

Royce from RNR (L) and Mary Jo Miller from HBF Textiles (R)

Tandus wins Gold with Urban Nature Powerbond by Suzanne Tick

Terry Mowers (C) of Tandus showing off the Authenticity Collection

Cindy Allen of Interior Design talks to EOOS about Keilhauer's Cahoots collection

Milliken's Todd van der Kruik (L) and Roby Isaac (R) 

Knoll's new Antenna system

Masamichi Udagawa (L), Sigi Moeslinger (R) - designers of Antenna, with Royce of RNR (R) and Enrico Colzani of Knoll

Clive Wilkinson and Interface's Peter Greene checking out Memphis

Royce standing on Digital Infusion from Lees at the Mohawk showroom

Diane Barnes (L) and Megan McKenna (R) of HBF show off their new training table configurations

Picasso at the HBF showroom

Gold winning Proximus casegoods by Halcon

Felt paper dividers, part of Halcon's Proximus collection

Mannington's award winning showroom design featured details like this nest made from the new Sylvan collection 

Carl Magnusson presenting the Conflux light at Teknion

More pictures coming very soon!

Meet Mary Jo Miller of HBF Textiles

One of the industry's most colorful personalities is Mary Jo Miller, Director of Design for HBF Textiles. With a big heart and warm smile, Mary Jo infuses a love for life and art into her work, developing designs for one of the most beloved commercial textile manufacturers.  Working at HBF since 1989, Mary Jo has established the company as a premier line from collaborating with prominent designers as well as creating her own award winning patterns.  Her endless enthusiasm and passion for textiles also has led to participation on the Board of Directors for ACT, the Association for Contract Textiles.

We spoke with Mary Jo about her career, her collaborations, and what's new for Neocon:

Repeat. No Repeat: What was your first job in the design industry? 

Mary Jo: I was a bewildered fine arts major straight out of grad school at Washington University in St. Louis trying to prove to my father that a fine arts degree was not a dead end. At that time some of your larger architecture firms like SOM, HOK and others were starting to hire fine art graduates to work in their interiors libraries, so when Bob Blaha, the VP of design at HOK in St. Louis, came to a gallery show of my art work, I didn't realize I was being interviewed for a job. Bob had a lot of patience and faith in me and instilled in me a respect and passion for this industry. Guess I owe Bob a big thank you note. 

RNR: You work with a lot of great designers, architects, and color specialists in your job. What are some of your favorite projects and collections you collaborated on for HBF? 

Mary Jo: On one project I worked with Ken Wilson and Diana Horvat from Envision Design out of DC. They were inspired by the Peruvian Nazca Lines and wanted to capture a carved line across a 66" wide fabric with no repeat. Finding a mill that could weave this was a challenge however a mill developed a 27" repeat that truly looked like it never crossed over itself and the end result is our award-winning Intersect pattern from the Trace Collection. Another favorite story was sending a vine ripe tomato to a piece dyer in Belgium for the perfect tomato red for Orland Diaz-Azcuy. Believe it or not the tomato arrived in one piece and they understood the rare shade we were trying to replicate. TVS also conjures up a smile, as the four women designers that collaborated with us - Cresta, Lucy, Erin and Carly - were so talented it was a challenge to weed out any of their concepts. We ended up doing back to back collections with them, a gold NeoCon award winner Stitch and then a more environmental collection re:Stitch. Working alongside amazing designers over my 20 years at HBF Textiles has always been the most inspiring part of my job. What starts out as a design dialogue ends with a well crafted solution and a warm friendship that continues for years to come. 

RNR: What are challenges that fabric manufacturers face today? 

Mary Jo: The last couple of years we have seen the closure of yarn dyers, yarn manufacturers and some mills. This has led to disruptions in deliveries and products that have had to be resourced or dropped depending on the complexity of the pattern. We've been very lucky at HBF Textiles because two such mills were purchased by two larger mills so they could continue to weave our designs for us. 

RNR: What is your favorite color and why? 

Mary Jo: For me it's not so much about a single color but the way two colors play off one another. Sort of like the bluer shades of vibrant turquoise with deep navy or a clean juicy lemon drop yellow juxtaposed against a deep golden yellow. Color for me becomes very specific and sensory, it can be so rich you can taste it or smell it. Like the color of a wet cement sidewalk or a heavy weight white oxford cotton shirt or half and half cream mixed with black coffee. Color should be delicious. 

RNR: How do you choose what colorways go into your collections? 

Mary Jo: I look for clarity of color, the color has to be strong all on it's own, but not so bright you can't look at it for a length of time. It also has to hang with it's other family members so that the overall palette feels intentional and connected. 

RNR: What new products are on the horizon for NeoCon (hoping of course you can share)? 

Mary Jo: We are so excited this NeoCon to be launching a truly un-conventional collection of multi-purpose wall and upholstery patterns from west coast designer Laura Guido-Clark. She layers patterns with randomly occurring repeats and mixes colors in a fresh and energetic way. The collection is titled Breaking Monotony as she truly gives us some materials that are inviting to the hand and also visually textural. Laura's pattern names speak to her Breaking Monotony theme with, Making Waves, Turning Over a New Leaf, Against the Grain, Forest for the Trees, and Crossing the Line. 

Breaking Monotony collection for HBF by Laura Guido-Clark 

RNR: Do you have a motto? 

Mary Jo: "When in doubt, leave it out." This phrase can apply to a number of design dilemmas and speaks to stepping back and giving yourself some breathing room to re-evaluate the design or colorway in question. If you can pull out and the collection still captures your attention then its better left out. With all the waste today it behooves us all to do more with less and not just make a lot of stuff.

Fanny Aronsen sparkles for Kvadrat

 

This coming week kicks off the Milan Furniture Fair, the most prestigious and cutting-edge venue for design luminaries to display their new concepts and products. This year, Swarovski has partnered with ten manufacturers and nine designers to get their Austrian crystals utilized in furniture and textile products that will be more easily within reach than their superb luxury-oriented architectural lighting line. Called Swarovski Elements at Work, this is set to launch in Milan this coming Wednesday, April 14th.

One of these lucky manufacturers is Kvadrat, the Danish textile manufacturer that is the leading supplier of fabrics in Europe.  Kvadrat partners with Maharam in the US as their distributor, so they have a broad base of accessibility to their products.  Kvadrat worked with Swedish textile design Fanny Aronsen, with whom they already collaborate, to create a collection incorporating the Swarovski Elements.  This collection consists of both textiles and wallcovering which feature the loose cut crystals adorning the products.
All we can say is WOW!

Wallcovering by Fanny Aronsen for Kvadrat, using Swarovski Crystal Elements

Meet Stephanie Moffitt of Mokum Textiles

For those in the know, Mokum Textiles is one of the more fresh, contemporary textile companies around. Intended for the residential market, those of us working in the commercial market can't help but adore the large scale graphic patterns Mokum is known for, and imagine ways to incorporate these fabrics into our projects. Since the Mokum line is designed with life's daily rigors in mind, the textiles can easily cross into all types of projects. The Mokum family of companies also includes Loop - a contract based textile line; Meridian - a fabric line that focuses on patterns inspired by the Pacific region of the world; and Mokum Rugs - a line of hand-knotted rugs made in Nepal.  The company is based in Sydney, Australia and since its founding in Auckland, New Zealand just about three decades ago, Mokum has established itself as a brand leader.  

This is, no doubt, due to the leadership of Design Director Stephanie Moffitt, who has been with Mokum since 1992 where she started as a showroom assistant and has spent her career building a strong studio with inspired product introductions.  Stephanie recently came to the US on a tour to introduce her newest collection Moderne to the design loving press and public, which is where we caught up with her to ask her some questions about her work and her inspirations.

Repeat. No Repeat: You started at Mokum in 1992 as a part-time showroom assistant, and now you are the Design Director. How did you make the transition? 

Stephanie: I was very lucky that the owners of Mokum at the time (Michael and Linda Rysenbry) wished to grow the Mokum brand and approached me about establishing a design studio while I was in the showroom role. As a recent graduate who studied textile design, this was a dream opportunity and I jumped at the chance! 

RNR: You were born in New Zealand. What was it like to grow up there? 

Stephanie: I was born in Auckland but we moved when I was very young to the country in the middle of the North Island which was very idyllic. It was sheep farming country, though we did not live on a farm as my father was the school teacher. We would spend the weekends at friends farms exploring the country side, which I absolutely loved and have such found memories of. Not being trapped inside meant we would use our imagination and I think this has helped me immensely as a designer. 

RNR: When did you know you were destined to be a textile designer? 

Stephanie: When we weren’t outside playing as children I was always drawing, designing clothes or floor plans for houses for my family, so I always believed that I was going to be a designer in some form. 

RNR: Mokum is known for producing themed collections. How do you decide what the themes are and how do you derive the initial inspiration? 

Stephanie: Our collection ideas come from trends that we see emerging in fashion, arts and culture from around the world. The filtering process comes from determining whether the theme provides enough inspiration for a range, has longevity and is appropriate for our brand. 

RNR: Do you find that there are aspects of your work that are evocative of Australia and New Zealand?

Stephanie: For the Mokum brand, it’s about translating our ideas into residential textiles that meet aesthetic and performance requirements of our home markets, Australia and New Zealand, as well as the U.S. We have a very relaxed lifestyle and we try to infuse our designs with a simplicity appropriate for contemporary residences. This relaxed lifestyle also requires high performance textiles, as people in Australasia very much live an indoor/outdoor lifestyle and expect their furnishings to be robust. We also have very harsh UV conditions due to our clear, clean light which influences our fibre choices (particularly at the window) needing to use fibres which have excellent light fastness. 

RNR: What is your favorite part of the design process? 

Stephanie: I love being a part of the entire process. I have three talented in house textiles designers, Beth Linz, Dorit Herrmann and Ngahuia Damerell who design for Mokum. My role has really grown into that of a creative director, which suits my personality as I love guiding an idea from its inception, through presentation in the marketplace. Therefore I am involved in not only the formation and development of the textiles but also how we style and market the collections. Visit our studio blog which features profiles on our designers and outlines our design process, inspirational pieces, and recent developments. 

RNR: Do you all work on the Loop, Meridian, and Rug lines as well, or is that a different group? 

Stephanie: We work on all of the above which I think shows the diversity and strength of the talent within our studio. 

RNR: I can tell from the Mokum blog that you and your staff are into music. What is typically playing in the design studio? 

Stephanie: We listen to FBI radio, a Sydney community station which supports local and international indie music. 

RNR: Who are some of your favorite designers? 

Stephanie: I love Dries Van Norton, Miuccia Prada and Australian designer Akira Isogawa , particularly for their beautiful use of surface pattern and embellishment. 

RNR: What are your favorite color combinations? 

Stephanie: I love soft pink and bold red. 

RNR: Tell us about your latest collection "Moderne" - it looks gorgeous! 

Stephanie: Thank you! We have just finished launching it throughout the US and Australia. I am currently travelling to New Zealand next week which will complete our “Moderne” tour. The response both here and in the States has been fantastic! Moderne was inspired by the Art Deco period (starting in the '20s). We wanted to build on the glamour of our previous collection, Dauphine, but look for inspiration from a more contemporary period. Art Deco can best be described as an age of extremes. As a very bespoke and exclusive movement but as it became more mass produced it simplified and become more futuristic. This later period became known as Streamline Moderne from where we took our collection name. Being such a broad period we choose to focus on fashion and couture designers in particular. Women’s fashion was experiencing a revolution as women rejected corsets and chose to embrace comfort and freedom. Beth Linz was lucky to be in Paris on holiday during a exhibition of 1920s couture and brought back a great source book that directly inspired surface patterns. But like all Mokum collections we never seek to deliver a literal take on the theme and instead our goal is to take inspiration from this period and translate this inspiration into a collection which is contemporary. 

Moderne collection "De Rosine" color Ebony 

Check out more about Stephanie's visit to the US in the New York Times.

Maharam Digital Projects

Dutch Clouds by Karel Martens for Maharam

Detail of Dutch Clouds

Textile and Wallcovering giant Maharam always has one leg firmly planted in the Contract design market, and one leg stepping out towards the cutting edge.  Their latest venture addresses walls that require something more interesting than a conventional wallcovering, looking to art for the answer.  Known as Maharam Digital Projects (MDP), the manufacturer collaborated with a broad range of artists, giving interior designers access to some of the world's best contemporary artists.

The program houses a digital image library available as large scale graphics that are printed on a specific wallcovering base. There have been two sets of patterns released thus far  (18 in total) for designers to reference, with more to come.  Intended to be used for feature walls, the MDP works like this: a designer selects the pattern required for the project from the digital library, and then the pattern is scaled to the intended wall.  This is the only feature so far that is customizable, as the patterns and colors cannot be altered, due to the fine art nature of the work.  There will be a second phase to the program where eventually custom artwork can be utilized, but that is still in the works.  

Using a fine art printing press, the pattern is printed on the wallcovering base, composed of 48% cellulose, 35% latex, and 17% nylon (notice there is no vinyl, or PVC).  The base has UV inhibitors to protect the inks from fading, and is washable, can be scrubbed, and is Class A fire rated.  Depending on the pattern, some will have a matte finish, and some will be glossy. The wallcovering comes to the installer in numbered panels, making it easy to hang (but of course you need a reputable and experienced sub-contractor).  A great feature of MDP is the short lead time - just three weeks!  The only caveat is that walls are required to be field measured prior to order, since the wallcovering is made and scaled to order per the designer's specified dimensions which must be verified prior to production.

The artists tapped for this project are from a multitude of creative disciplines, whether it be fashion designers, illustrators, printmakers - and are as far reaching as journalists and collectors.  The first art introduced for MDP is "Dutch Clouds" by Karel Martens (shown above), which is a play on scale. Martens, a typographer, created thousands of unique icons to serve as the modules which create the cloud pattern shown in the mural.  Other artists include fashion designer Paul Smith, who has collaborated with Maharam before on upholstery fabrics for the line; collage artist Fred Tomaselli; conceptual artist Dan Graham; illustrator Marian Bantjes; printmaker Harmen Liemberg (who created a collage of black and white archival engravings on a huge scale); photographers Marilyn Minter and Laurie Simmons (the latter using her Kaleidoscope House as subject); painter Markus Linnenbrink; mass-media artist A.J. Bocchino; and our favorite....wood installation artist Phoebe Washburn.

Luna's Optique Collection

Luna Textile's pattern "Enchant"

It's no wonder many of us are attracted to the forms and stories of mid-century modern design.  For starters, we now live in a fast paced world where technology rules and it's hard to keep up.  From TV's Mad Men, to the pervasive interest in vintage clothing and furniture, to the resurgence of crafts, mid-century references are everywhere now more than ever.  And in a world that has been mass-produced and over-consumed, many of us look to objects from a more simple time when they had more purpose and meaning.

It is in this context that Luna Textiles introduced last Spring the Optique Collection, comprised of two whimsical patterns and one solid: Enchant, Spellbound, and Delight.  Intended to provide some optimism in today's crazy world, the two patterns succeed in giving us a fun, delightful repeat while still retaining the sophistication and clear color palette that Luna is known for.  Reminiscent of past patterns from old masters such as Eames and Girard, the textiles are engineered for today's contract market - a blend of cotton/nylon/wool testing at 100,000 Double Rubs for the two patterns, and recycled polyester/rayon blend at 81,000 Double Rubs for the solid texture.

Luna's "Spellbound" (pattern) in foreground, "Delight" (solid) at back

As an aside, if you are interested in mid-century textiles, there will be an upcoming exhibition starting May 15th and running through the summer at The Textile Museum in Washington, D.C.  The show is called "Art By the Yard: Women Design Mid-Century Britain", showcasing the the seminal work of three female textile designers: Lucienne Day, Marian Mahler, and Jacqueline Groag.  It's on our Summer To-Do list already...

The New Breed: Milliken's Roby Isaac

Milliken carpet is no stranger to reinvention.  Based in LaGrange, Georgia, Milliken has been manufacturing carpet for decades (and textiles since 1865).  They have been and continue to be a major player in the commercial and residential carpet industries.  In 1995 Milliken suffered a terrible factory fire that caused them to re-evaluate their plant processes and commitment to sustainability.  Since then they have rebuilt a carpet empire that continues to evolve and change with the times.  Known primarily in contract circles for their print process, Milliken is now developing tufted patterns in order to offer a more diverse portfolio of options for architects and designers to specify.  With this new shift comes new staff - the addition of two young designers (albeit with experience), under the wing of Creative Director and color expert Kaye Gosline. Said designers are Roby Isaac and Todd Van de Kruik, both of whom bring a decade of experience working with tufted carpet and have big ideas for the future.

Roby Isaac recently spent some time with us at RNR to talk about the industry and his first collection for Milliken called "Ghost Artist". Born in India and raised in Philadelphia, Roby was introduced to the visual art world through participation in an inner-city art program. This experience fueled an interest in textile arts, which led to Roby earning a B.S. in Textile Design. Roby's career spans 10 years within the floorcovering industry, starting with Monterey Carpets in California, with the last five years designing for Tandus in Dalton, GA. He is currently responsible for Milliken Contract's new Solution Dyed Nylon division's product design. 

Repeat. No Repeat: What is it like to work at Milliken, one of the largest and most well respected carpet mills in the US? 

Roby Isaac: I've been with Milliken for just about 10 months now, and I'm having a great time. While attending textile school, I learned of Milliken and its great reputation for ethics, quality products and rich textile history. It's been more than 10 years since school, and that reputation, I believe, still holds true. I'm coming in during an exciting time on the company’s design side, and feel honored to be part of this experience.

RNR: Do you feel pressure to be the new young hope at a company looking to reinvent itself? 

Roby: No, not so much pressure, as much as an anxious energy to dig into this creative opportunity and do some interesting things. Thankfully, I’m not in this alone. My friend and co-designer, Todd Van der Kruik, and I have worked together for the majority of our careers and collaborate well. We are surrounded by a talented & dedicated team that’s making sure the new vision is communicated in the best ways. 

RNR: Tell us about the inspiration for your first collection at Milliken, "Ghost Artist".

Roby: After graduation, I was looking through a book on textiles, and, in the preface it mentioned how textile designers are "ghost artists" who made fabrics that were so often seen in our daily lives, it took special attention to see them at all. It went on to say textile design is the kind of artwork in which the personality of the designer fades so much, it disappears. That thought has stuck with me during this past decade. Being in the commercial interiors industry, I see that the interior designer and architect are similar in this description - in that the spaces and structures they design are seen so often, that we often don't notice them at all. The collection of patterns specifically sprung from my interest in certain architectural details that, although purposefully included in the design, may often go unnoticed...just like the Ghost Artist. 

RNR: You worked with some amazing creative people at Tandus such as Suzanne Tick and Terry Mowers, prior to your arrival at Milliken.  What was it like to work with them?

Roby: It was great working with them and their studio staff. I believe every experience helps one grow, and this opportunity allowed me to learn more about effectively presenting, marketing and selling design. 

RNR: How did you get into textile design? 

Roby: While in high school, I was fortunate enough to be accepted into a creative arts program at the Fabric Workshop in Philadelphia. The Workshop is an "arts-laboratory" where silk-screen fabric printing is done in collaboration with artists who work in all different mediums. At the time, my interest in textiles was piqued solely because my high school art teacher mentioned the apprenticeship in class. I went through the interview/portfolio process, which led to the apprenticeship and exposure to the world of textiles. I was completely enamored. Thankfully, the high school apprenticeship extended into a scholarship program when I started college. The staff of artists there sensed my discontent in studying biology at Temple (I thought I was going to be a veterinarian) and suggested I check out the Philadelphia College of Textiles. I had no idea that such an amazing school was right around the corner from where I grew up. I visited the campus, saw the studios and knew it’s exactly where I wanted to be.

RNR: You grew up in Philadelphia, which is where we are based. How did Philadelphia influence your design sensibilities?

Roby: I grew up, like many kids in urban Philadelphia, concerned about how I'd make a better life for me and my family. The art and design we had around us were used more to disguise rough patches of daily living. There wasn't always extra to spend on the nicer things. It had to be functional. If it looked nice, that was a bonus. I learned to think more about how and why design brings value to the user. I started to think in terms of "form AND function," as opposed to one being greater than the other; and that has stuck with me in many ways.

Additionally, we Philadelphians measure character by one's passion and determination. I believe that plays a part in what I like in design. There has to be sincerity in thought; the concept or execution can't be disingenuous.

RNR: What advice do you have for aspiring designers out there, especially in light of the market today?

Roby: Most creatives, if they end up in a creative field, will more than likely work in some commercial environment. No matter what field of design that ends up being, always make time for your own work. There will be plenty of hours you'll be spending on someone else's ideas. Mark out time for your own. It will lead to greater things - personally or professionally. Aside from that, I'd say to just remain observant. Often times we won't have the opportunity for design research as we might have had in school. Since information continues to move faster and "down-time" continues to decrease, it's critical that we're aware of what's going on around us so our products remain relevant.

RNR: Who are your favorite designers these days?

Roby: There are so many creative people doing inspiring things, but I'd have to say I’m a fan of designers like Hella Jongerius, Marcel Wanders, and Front Design to name a few. Their projects always seem to embrace the processes used in making the objects. I'm very much into technique and process, so their projects appeal to me. I also like that they inject a bit of unexpectedness that ends up being integral to the work.

"Facade" from of the Ghost Artist collection 

"Trace" from the Ghost Artist collection

"Trace" from the Ghost Artist collection - detail

"Shadowpoint" from the Ghost Artist collection

"Semblance" from the Ghost Artist collection

Knoll Textiles celebrates 60 plus years from the Archive

This year Knoll Textiles is celebrating sixty-two years of good design for the Contract industry.  It's a known fact that there wouldn't be a Contract industry if it wasn't for Florence Knoll, creator of interiors planning and arbiter of minimal taste for the mid-century corporate office.  Not much has changed today, with Knoll leading the way in this same arena.  So it is always a treat when Knoll revisits a chapter in its history, bringing to light fabrics from its storied past for a new generation of designers to utilize. Under the helm of creative director Dorothy Cosonas, Knoll introduced the "Archival" collection in 2007 to pay homage to six decades of modern textile design (Knoll Textiles being founded in 1947).  This collection featured reissued patterns by such design and art luminaries such as Anni Albers, Eszter Haraszty, and Ross Littell, all for current production.  This year, Cosonas added four more fabrics to the Archival collection - two drapery and two upholstery fabrics. Shown in the foreground of above photo is "Nova", a large scale floral sheer drapery, designed in 1969 by Wolf Bauer.  The second drapery reintroduced is "Quartet", a large scale stripe originally designed in 1963 by Suzanne Huguenin, a past Knoll Textiles design director.  As for the archive upholstery pieces, Knoll brought out "Cornaro"- a textured solid from 1974, and "Plain Linen" - a printed solid linen from 1953.  What's next for reissue from the extensive archives?  Only Cosonas knows for sure, but to be sure the pieces - just like the last two introductions - will be reworked only slightly to meet today's performance requirements and market color preferences. In the mean time, we will be thrilled to work with the current offerings and look forward to a Knoll Textiles retrospective in 2011, being organized by the Bard Graduate Center and curated by Angela Volmer, Independent Curator; Paul Makovsky, Editorial Director Metropolis; and Susan Ward, Curatorial Research Fellow at the Department of Textiles and Fashion Arts, Museum of Fine Arts, Boston.