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Color does not undergo dramatic change at every trade show. But at the October High Point furnitumarket there was newness at almost every turn.To begin with, the neutrals revival observed in Europe at Maison & Objet in September was also
apparent in High Point. This was significant, suggesting that the lag time between Europes embrace
of trend and North Americas has compressed dramatically.
At the same time, pastel values made a grand entrance that was foreshadowed by mints advance ovthe past year. In High Point, mint was just one of a range of pastels that also included spring green,
sky, petal, blush, butter and violet. (Members of The Trend Curves subscriber family can see a galler
of pastels on the Members blog. Be sure to log in first to access this Members-only content.)
Each of these colors looked best in complex personalities, not sweet ones. Still, only a few companie
like Century, showed all-pastel settings, even though these looks are directional for . Most
showrooms allowed pale hues to accent neutrals, especially versions of light brown.
thetr
endcu
rve
tomorr
ows
trends
today
T H E I N T E R N A T I O N A L A U T H O R I T Y O N T R E N D F O R E C A S T I N G F O R H O M E F U R N I S H I N
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12.13
NeutralRevival
Lexingtons
mix of neutral,
including the
Adler nesting
tables andConrad sofa
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Browns easily overshadowed grays as browns took a giant leap forwa
Gray is in the mainstream right now, and companies above volume pr
points should consider spring of the peak for gray. (Make it one
season later for volume sellers.)
Browns moved quickly, spreading across all values. Contrast this with
the fact that gray had its biggest impact in just two versions, mid-tone
and graphite, during its heyday. This difference explains why browns
advance much faster than grays did. In High Point, browns were alrea
demonstrating their ability to do so. For fabric in particular, yellow anespecially red casts ensured that browns of all values would feel warm
and inviting:
Bernhardt showed an entire room setting lled with rich brown leath
hair-on-hide and wood. Gold-metallic accents and outlines helped delineate the pieces
this inviting vignette.
CR Laines mid-tone approach included a yellow-cast
brown velvet, accented with orange, raspberry and off-white
cushions.
At Lexington, an even lighter, red-inuenced middle
value was shown with pastel-blue toss pillows. This color-
combination was a nod to the ongoing importance of blues.
Blue was the talk of the market. It came in shades from
periwinkle to navy, and from turquoise to peacock. Many
companies showed products in a single blue (Hickory Chairs
deep-blue tufted-velvet headboard was dramatic and lovely),
yet even more of them put two or three blues together.
For example, Global Views glazed-ceramic vases paired
sapphire and turquoise, while Cyan brought navy and sky
together in glass. Pearson teamed peacock and sapphire in
a rug-weight fabric covering an ottoman. Lillian August forHickory White showed a porcelain blue printed cushion trimmed
in a short navy f ringe and placed on a denim-blue daybed.
Blue also looked great with hues outside its own color family, like reds and browns. It came
together with green, as well.
Even though greens generated less buzz than blues, they were even more directional. Com
or cool mid-tones and deeps had plenty of visibility. Still, warme
greens were far more noteworthy. Bottle green (Alexa Hampton f
Hickory Chair), dark olive (Dranseld & Ross) and lichen-like mid
tones (Stickley) felt fresh after mint, malachite and emerald. Eve
celadon and toned-down chartreuse (see Prairie Grass in The TreCurve Colors ) seemed to ooze potential that will start to b
realized next year and grow into . Other color notes:
Purple came roaring back, this time with red casts
Bright yellow backed o while amber advanced
A warmed-up version of hot pink made everything from emera
and chocolate to black and white pop
Dark reds gathered momentum throughout the market; Taylor
King says, Red is denitely coming back.
Remaining grays
continued to warm up,
looking more li ke stone
or taupe than their cooler
cousins . Watch for an
increasing number of
grays to shift to the warm
side as this family declines
throughout 2014 and even
more in 2015.
Pretty blush-tone pastel
from Century Furniture
Layered browns from BRazor Sharp Dressing in
Hickory Chairs
Hattie Tufted Bed in
scrumptious blue velvet
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Materials Update
Shifts in materials preferences emerging in High Point had as much impact as necolor. They provided a range of visual and tactile textures that will accelerate thfatigue with smooth, perfect surfaces that has just begun. Wood was at the forefron
of this evolution as oak took its biggest leap forward since the s. But back in t
eighties, the top styles for oak were Mission and American country, and the finishe
were evenly stained. In , the looks could not have been more different.
For example, Decca Home/Bolier debuted the Rottet Home Collection, created by La
Rottet. The 33 pieces in this sleek, contemporary furniture collection were crafted f
gray cerused-oak veneers, acrylic, carrara marble and stainless steel. Stickleys ne
cerused-oak table mixed brown and gray together in a fascinatingly complex finish
was also cerused at Highland House, where espresso-finished pieces in the Candic
Olson collection stood at a style mid-point between contemporary and glamorous.
Chaddock took oak in a transitional direction in open shelving. Units paired gold metal fram
and silvery, pearl-finished oak shelves. Bernhardts Auberge collection, part of Chateau Ch
came in distressed Vintage White paint and lacquer, a natural-linen wrap (directional, see
Cover Up, below) or weathered oak. The resulting look was one of sof t, tonal luxury. Hooke
new Solana collection, made of wire-brushed oak with a caramel-and-gray finish, opted fo
maple and walnut-veneer inlays over carving.
While all-walnut pieces continued their move toward the mainstream of nearly every style
category, mahogany asked for new attention. It looked sophisticated and refined in Baker
Atrium Chair, designed by Jacques Garcia. A mahogany mirror in the Aerin collection for EJ V
was equally compelling. Mariet te Himes Gomez debuted the Jacques Coffee Table for Hicko
Chair. This two-tier table with unusual, bent-iron legs, was shown in mahogany, and is stan
in ash.
The Aerin collections mahogany-burl dining table was part of an emerging trend toward
integrating not only burl accents, but other highly figured wood grains into pieces andcollections. This marks a departure from the straight, minimalist grain patterns that the m
has craved for years.
Stanleys Martini Table, part of the new Fairfax group, showed off a top made of Mappa bur
Thayer Coggin used olive-ash burl. Meanwhile, Theodore Alexander preferred figured aneg
and sycamore veneers for their Radiate hall cabinet, and Alden Parkes oered the Hampton
-Door Neo-classic cabinet in exotic Hyedua veneer with a fine,
hand-rubbed satin finish.
Wood was not the only material that got noticed. So did stone. S
As Grand Hall collection of occasional tables featured sliced ag
tops on iron bases, and Wildwoods sliced-agate finial on a woo
lamp looked great. But marble had a largerand growingrole
overall. Boliers Elan collection was enhanced by a black-marble
top on a chromed base. Black was also Frederick Coopers choic
for the marble base of the Acropolis lamp. Century showed a wh
crushed-marble drinks table, and Stickley combined white marb
with Mozambique and cherry woods in their Uptown collection.
Quartz had a fraction of the exposure that marble did, but it just
had to be noticed for the luminous character that fits so well with
Cerused-oak chest from Candice
Olson for Highland House
Directiona l light finishes in
Solana, from Hooker Furniture
An emerging preference
for lighter wood finishes
crossed the boundaries
of wood types and styles.
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growing interest in luster. At City Collection, lamp bases made of polished quartz sto
out. Emporium Home placed faceted-quartz pieces around the edges of mirrors and
metal shades of task lights.
Chunky, obelisk-inspired crystals became dcor items at Tritter Feefer Home
Collection. This company says interior designers and high-end retailers buy u
their one-of-a-kind pieces at every market, and that the call for these crystals
growing louder. We have barely scratched the surface of what quartz can do for
home dcor.
Pen shell has been out of the spotlight for some time. Introductions at this ma
hinted at a comeback. Pearson created a chevron-patterned cocktail table from
natural material. They also debuted the Starburst Mirror, made of tiger pen shell. T
the same variety Maitland-Smith used in a small occasional table that was complete
inlaid with tiger pen shell base supporting a beautiful walnut-veneered top. Brass
outlines and stretchers were accents. Lexington added lighter, young pen shell inlays to ou
the top and drawer front of a charming accent table.
Glass embraced a creative character that has not been highlighted before.
Bernhardts bronze mirror-glass tables conveyed both warmth
and an uneven visual texture that made them both casual andsophisticated at the same time. La Barge paired a gold-nished
iron table base with a silver eglomise top. White mother-of-pearl
was inlaid as an accent. Brass glass tabletops from Caracole felt
similarly warmed. At Studio A, the shagreen-covered Churchill
Oval Drum Table (drum shapes are incoming) was topped with
antique mirrored glass for a warm-neutral appearance that oozed
glamour. Other materials updates:
Rough-cut bone gave high-low texture to decorative boxes at
Made Home
Concrete accentsor the lookkept popping up
Raa continued its slow ascent
Shagreen was gathering momentum again
The markets newfound openness to so many different materials and
textures suggests that only one will not be enough. Expect mixed-materials combinations
be revived in a way we have not seen in a decade. This will become a must-have feature by t
beginning of .
Cover Up
Fabric-covered headboards have become key drivers in bedroom collections. Upstairs maHickory Chair says interior designers want these custom pieces for their ability to persona space. Their new headboards at the October furniture market included the Banbury serie
with two channeled-fabric headrests layered over a fabric or leather-covered headboard, a
the Hattie Tufted Bed, a knockout in sumptuous, deep-blue velvet (see page ).
Pearsons Starburst mirror,
made of tiger pen shell
Studio As Churchill Ov
Table , in brown shagr
antique mirrored
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High-end resource Century Furniture revealed that they no longer release
new bedroom groups without at least one covered headboard in the mix. T
time, two new versions, one of them with exposed-wood trim, joined their
assortment. Feedback on their new Bridgeton bed revealed that custome
see pieces like this as a smart choice. They can show it one way, yet sell it
of ways, to make their turnover higher per square foot.
With so much support for fabric-covered headboards, it is not surprising t
companies are now beginning to wrap other case goods in fabric, too. Fromcabinets to consoles, some unexpected items got softer surfaces at mark
Bernhardt was among the upstairs makers leading this trend. Their Auber
Entertainment Console, from the Chateau Chic collection, was completely
wrapped in an off-white linen skin and decorated with nail-head trim. The
glamorous Villette Hall Chest from Bernhardt Interiors, wrapped in a blue
silk, used nail-head trim on the drawer fronts to simulate beading. Pearso
showed an upholstered console, outlined with a row of warm-metallic nai
This treatment was not reserved for fabric alone. Leather also had a role th
went beyond the shagreen-covered boxes that popped up throughout the
market. Maitland-Smiths Spanish-inuenced cocktail table (Spanish looks are incoming)was covered in heavily embossed leather and accented
with scrolling lines of brass tacks on the sides and legs.
Lexingtons Adler Nesting Tables were wrapped in python-
embossed leather and trimmed in walnut (see front cover
image).
Hooker gravitated toward a different texture, encasing
the Ziva console from their Melange
collection in geometrically woven
black-and-white raa. Palecek
wrapped a six-sided table in thisreturning material.
As the interest in mixed materials
rises, wrapped and covered pieces
provide an excellent opportunity to let case goods
participate in unique ways. Dont expect covered case
goods to dominate any single room setting. However, you should expect thei
presence to build and grow to the point where they are part of mainstream dc
by mid-.
Its All In the Details
It should not go unnoticed that covered case goods offer an unexpected foundation for detand embellishment. As the appeal of minimalism begins to slide and decoration inches ahconsumers will expect a different approach to ornamentation. Covered case goods will be o
response among many.
Although emerging covered-case pieces have a penchant for nails, this detail is actually se
Linen added interest anddetail to Bernhardts cabinet
Maitland-Smiths leather-wrapped
Spanish-influenced table
Paleceks Casabla nc
table, covered in
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to back off. Already, directional new upholstery featuring
nail-head trim is using less of it. That means the nails are
more likely to be well spaced, rather than packed into tight,
unbroken lines. Or, they may sit atop a fabric or leather
tape. Welsey Hall, Norwalk and Highland House were
among the companies employing this approach.
Tapes and banding are staging a comeback that goes
beyond their role as a foundation for studs and tacks.These embellishments will also steal share from hardware,
starting now.
And as this takes place, makers like CR Laine are not
content with showing tapes and bands as discrete
adornments. Instead, this company favored wide bands
of fabric with a double-stacked Greek-key repeat that ran
along the edges of skirts or down the center of upholstered
chairs with a tape-like character and a notice-me attitude.
On the bottom of CR Laines upholstered skirts, this
updated take on tape was contrast-colored to really stand out.
Wesley Hall covered a drum-shaped ottoman table with a horizontal-stripe fabric. A portio
that stripe was cut into banding and placed on the skirt of a coordinating sofa. Pearsons ve
toss pillow was banded vertically and horizontally with a wide fretwork tape, making a bold
statement, even in all neutrals. The bottom of a taupe-and-off-white patterned chair from t
company was styled with a wide beige band that gave it a modern sensibility, even though
was attached to a traditional skirt.
Taylor King opted for braid over tapes and bands, using a gold chevron design against a red
chenille skirted sofa. Considering the incoming penchant for Mediterranean st yle, this cho
was directional for embellishments.
It is important to notice that tapes and bands, while updated in roles that send them down
center of a seating piece or crisscrossing cushions, are important details for skir ts. Uphols
company Paladin believes skirts are poised for a return. The Trend Curve agrees. Watch for
use of skirts to edge up over the next months.
A number of stitching techniques took a giant leap ahead, offering yet another alternative t
nail-head trim. The most straightforward among them were simple: double lines of straigh
stitches, done in a contrast color, or quilted surfaces, especially in diamond
layouts. Then stitching got really creative. Ambella Home showed trapunto
stitched leather in a leafy design with a traditional avor. For contemporary
styling, the look was much different.
Finishing stitchesstitches that are typically never seenca
out of the seams to take up decorative roles on the surface of
chairs, sofas and sectionals. Natuzzi featured a zipper stitch
on the arm of their Tempo leather sofa. Domicil used contrast
color for whip stitching and X-stitching over seams, to make th
embellishment really stand out. We saw the first finishing stitch
used as decorative details when Dranseld & Ross did them in gold-me
on an upscale cushion front about months ago. Now the look is moving from
accents to major pieces, suggesting that this technique has plenty of room to grow.
Width was key to CR La
approach to embellis
Taylo r King opted
for gold braid
Finishing-stitch details
on Natuzzis Tempo sofa
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These details will be part of a marked decline in minimalism that will be more apparent by t
time begins. Here are three more details to watch for between now and then:
Button tufting: contrasts of extreme depth and barely indented looks will add visual
variety to fabrics and leather
Braid and twisted cord: trends with a Mediterranean point of view will be especially
open to these details; so will baroque looks (just emerging)
Fringe: early versions will be short and tied, but bullion fringe, already shown on asectional from the Aerin collection at EJ Victor, fringe will be back by the end of
Skirts: watch especially for exaggerated waterfalls that are deep and dramatic
SOFA
About four years ago the SOFA (Sculpture Objects Functional Art) show added the wordDesign to its art tagline. As it celebrated its th anniversary at Chicagos Navy Pier, thintersection of art, craft and home interiors perhaps resonated more than ever before.
None of the -ish international exhibitors of studio glass, ceramics, wood, fiber, metal,
jewelry, design and art furniture would probably admit to being inuenced by fashion runw
or color-of-the-year declarations. Still, global connectivity and more awareness of design i
general could be credited with the fact that products at SOFA interfaced with style directio
that are tracking in less elevated venues.
Nails sat atop velvet tape on
Norwalk s Kate ottoman
Peter Marigolds Dodai bench
Case in point: wood trends. Crafting with wood at SOFA paralleled emerging directions in
furniture design. This was especially apparent in a return to finely figured veneers with glos
finishes (sometimes expressed in a growing fondness for Art Deco style) that rang true at S
in polished pots made of exotic woods.
At the same time, the penchant for rustic, just off-the-log looks that is the established
countertrend to more-refined-and-polished grains was evident in a craggy, abstract sculpt
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of sandblasted, bleached madrone root by Michael Peters
The same material was expressed quite differently in eleg
bowls by Christian Burchards, in which a whisper of grain
touched a white surface with the almost-translucent look
abalone.
Along with Peter Marigolds amazing modern benchcarv
from a split Japanese cypress log, highlighting naturally
undulating grain and topped with a removable woven-gracoverthe simplicity of natural wood, figuring and delica
suggested the next evolution of todays raw style, whic
growing long in the tooth.
As Native American pat terns begin to pop up with more
frequency (see Pattern Preferences in the August iss
their expression is veering away from an early-Ralph-Laur
sensibility in both palette and interpretation. Instead, they are moving toward something t
feels more abstract and modern.
A fabulous example at SOFA came from Jody Naranjo and Preston Singletary, whose traditimotifs were interpreted in etched-and-textured colored glass. Marvin Blackmore also
showed off this updated style. He took Native American black-ware pottery to a new level w
additional firings, engraving with a needle within intricate tribal patterns (some with fired-
layers of -karat gold) in a way that seemed to channel Middle Eastern style. And even tho
the ceramic vessels of Doug Randall were initially inspired by European stained glass, the
artist s bright patterns read like pop Southwest style.
Abby Modells play with mega sized (60 x 60) mirror canvasesappliqud with colorful, h
blown glass globes and applied Swarovski crystalshad an otherworldly vibe. Yet, the larg
scale galaxies (brought back down to earth with her coffee-table versions) were a reminder
the uptick in mirrored glass seen in High Point, stepped up with faceting and eglomise.
Statement chandeliers, like Arteriors red resin in the shape of branched coral and Ro Sham
Beauxs cascading-agate sconces, have created a bit of a ripple in home lighting. At SOFA,
Taylor Glasgows dress chandeliers married her own glass corsets, sewn with waxed linen
nylon, with light fixtures featuring ornate crystal beads. Belgian silversmiths Thalen & Tha
M-light oered an edgy sphere with LEDs. And though not a working light, Leonardo Cimoli
blue bulb hanging from a yellow cord, crafted in glass, channeled the bare bulb trend
has been seen in this years gift markets.
Murals of faces, done in stone and glass mosaics and in weaves of newspaper strips b
Danish artist Gugger Pet ter, echoed whats happening in fabrics as a result of incomindigital printing and photo imagery (like the Tom Selleck pillow at Four Hands). Black-
on-white porcelain plates by Luca Tripaldi featured decals of intricate patterns and
Fornasetti-like faces.
Marbleized patterns were new at the fall High Point market a year ago, with Hables bl
and-white fabrics. In October, a new upholstered chair at C.R. Laine indicated that thi
trend would advance. At SOFA, the same look surfaced in glass globes by Peter Layto
and in the yarn sculpture of Michael Lucero, making yet another connection between
artisan designs and high-end fabrics and dcor.
Updated Native
American blackware
from Marvin Blackmore
Gugger Petter used
newspaper as part of this
mixed-media piece
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Metallic Warmth
At the New York Tabletop Market, the thirst for metallic types and tones remained a key dfor tableware at all price points. But just as in High Point, temperatures were warming umetals in New York.
Gold was once considered too traditional, while platinum was the modern choice. But now
attitudes toward gold are softening, as it becomes the trend-right look for and beyon
This was especially true for upstairs collections, where the interest in gold was most obvio
In some cases, that interest translated into patterns where gold and platinum shared the
spotlight. Kate Spades Richmond Road dinnerware was a perfect example of this metallic
harmony. Tiny dots in two sizes, and thin bands in two widths, made alternating gold and
platinum look great.
Upstairs companies like Philippe Deshoulieres revealed that their customers are asking fo
gold again. Noritake says they see an uptrend in gold, as well. Matte-gold atware was new
Vera Wang for Wedgwood. Havilands white pumpkins were detailed with lavish gold leave
and stem. All this did more than suggest that the future will belong to gold.
While gold was the big trend, it was not the only nod to warmth. Havilands Sublime dinnerwwas detailed with copper metallic over a wide, geometric-inspired band encircling pure wh
porcelain. Paired with new amber stemware from Royal De Champagne, the look suggested
contemporary luxur y. Kate Spades Malmo rose-gold atware, and Argents geometric-
patterned atware handles, match the metal color that lighting and furniture makers called
copper at the September Maison & Objet trade fair.
Coppers share lagged golds by a wide margin. Nevertheless, it was apparent that the emer
copper revival observed in Milan, at ICFF and at Maison & Objet earlier this year will also imp
the table. Watch for a strong secondary presence for copper by the time begins.
Trend-right go ld flatware from Vera Wang
Check out the Members
area at www.trendcurve.
com for a variation on the
metallic theme. Be sure to
log in to see the Twinkle,
Twinkle blog post .
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With warmth the new trend direction, will platinum go away? Not
some time. There were still plenty of platinum introductions at th
Tabletop market. For example:
Noritakes Broome Street bone china, with a platinum-shagreen
texture was a knockout
Platinum Crown Black from Mikasa oered a delicateand highl
saleablerim design
Allover contemporary blossoms graced plates and cups in Muse
Platinum, from Gorham
But gold is already beginning to nudge platinum aside in terms of the number of overall
introductions at this show. The tide is clearly turning from cool to warm.
Tabletop Designs
Surface designs at the New York Tabletop had trend connections, ranging f rom establishto incoming. They also varied in style from casual to very dressed up.
Ikats were part of a continuing interest in ethnic patterns that is still selling well at retail. La
Gates gave them a contemporary twist by splashing bright oral blossoms over an allover
blue- or yellow-on-white ikat design. Aerin by Lenox also gave the look a lift by pairing ikats
with directional Jacobean orals in blue or green color schemes. These patterns anchored a
new collection that also included coordinating white-ware, featuring raised lattice and bas
weave textures.
Jacobean orals were also alluded to at Over & Back, where simple, outlined versions featur
red-cast blue on white. And they made a positive/negative statement in Wexford, by BIA CorBleu, where they demonstrated a transitional character in taupe/white or turquoise/white.
These examplesjust the beginning of an intense interest in Jacobean orals that will expa
over the next two yearsall struck a casual tone. Other looks were not only casual, but also
hand-done, textural and abstract. Some of them fit with a street-art sensibility that emerge
Europe earlier this year.
Sublime, in copper,
from Haviland
Urban
Graffiti,
by DKNY
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Daylen, from Mikasa, featured random lines crisscrossing one another in dry-brush texture
These black or grey lines were found allover round plates and cups. Over & Backs random li
part of a black-and-white story, took up asymmetrical residence on white plates with soft-sq
corners. Bold, black vertical and horizontal lines in Urban Grati, from DKNY for Lenox were
found in four coordinating layouts.
Urban Threads, also from DKNY, featured uneven blue or red hand-drawn lines in concentriccircles or soft squares. Portmeirion Groups new Ambiente collection came in both solid col
and thin, watercolor stripes of taupe and blue on off-white.
On the opposite end of the design spectrum, formal and ornate patterns also made a statem
Just emerging, they were part of a baroque trend that will be more apparent next year.
At Nikko, shape made the connection for dinnerware with black-oral silhouettes on a lavis
gold-metallic ground. Shape was also a factor for chargers with a -carat gold pinstriped b
featured with Jasper Conran Gold white bone-china dinnerware for Wedgwood.
Rococo Leaf, from Marchesa for Lenox, combined leafy ornamentation and thin, architectur
lines. The gold-metallic pattern placed over a pastel-green band made this design feel ornaand understated at the same time. Mikasas Antonia bone-china dinnerware featured intric
and ornate, filigree-like detail in platinum or gold over a rich black, sapphire or white ground
At first, these patterns may seem over-the-top, but thats only because the recent penchant
for minimalism has kept us distracted from anything with detail or decoration. Now that tho
trends are reversing, we will see not only the Mediterranean trend mentioned above, but als
baroque revival that will accelerate through and into . Baroque elements now go
the watch list:
Opulent and bold patterns
Black, launching a palette of dramatic deeps
Gemstone, pearl and sequin details
Chain links
Filigree work
Deeply colored glass, often with elaborate cuts and/or metallic rims
Swirling forms and spiraled columns
Marble, used as a material and as a pattern
Lace, velvet, burnout velvet, tapestry looks
Aerin (for Lenox)
coordinated ikats with
Jacobean-insp ired florals
Mikasas Antonia
Cobalt dinner plate
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5/26/2018 The Trend Curve December 2013 - Sample Issue
12/12
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Michelle Lambis the founder and chairman of
Marketing Directions, Inc.,
publishers of The Trend Curve
numerous special reports cove
major markets.
Marketing Directions, Inc.
informs national and internatio
manufacturers and retailers on
industry trends.
The Trend Curveis published b
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The Trend Curve - ISSN#1080 -1
Michelle LambEditorial Director
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Ispent a week in mid-November in thePhilippines. I gave trend seminars,followed by a hands-on trend workshop,
in Manila and Cebu City in sessions for
both product professionals and students.
I came away from this trip, my second to
the Philippines, with respect for the talent,
hospitality and resiliency of a population
that had just suffered a national crisis at the
hands of Super Typhoon Haiyan.
After the storm struck, I offered to
postpone our program until things were
more stable. I was told that the seminar
cities had been largely untouched. More
importantly, my hosts insisted that no more
than ever, people needed my expertise in
trend information and forecasts to help
the country get back on its feet. What a
testimonial to the power of trend!
Then, in Cebu, Kae Batiquin of CFIF
introduced my program by explaining why
trend matters. It was a perfect lead-in to the
start of my seminar, in which I talked about
utilizing trend as a way to reduce financial
risk, as well as a way to position your brand.
I was so moved by her comments on the role
of trend that I wanted to share them with you.
Thank you for joining us today in our
seminar, Trend Forecasting with Ms.
Michelle Lamb. Now, more than ever, we nd
ourselves in an increasingly competitive
world, where knowing spells the difference
between a successful seasonal investment,
or a failed venture. Citations need to be
keyed in, external references called out,
a lateral way of thinking emerges from a
decidedly interactive and interdisciplinary
approach to business and entrepreneurship.
Its a holistic world, a plugged-in
international village, where it is a
horrendous crime to not know, to not be
informed. We cease to simply be a spectator
or be a local participant; we become an
active component ready to affect the very
data we have just accumulated.
In this room today, we are a dynamic mix of
professionals and students, theoretical and
pragmatic, and in our group work later on,
let us learn from each other and from what
we can contribute.
Trend Forecasting is equal parts science
and creativity, with very actual outcomes
that can inuence market. It is the science
of grasping patterns and calculating
behavior; it is likewise honing intuition, so
that we can apply this to our own endeavors.
Business, quite like an organism, is often
evolving; it is our imperative to keep up andcreate services and products relevant not
simply for our society now, but for what our
societies will become.
Thank you, Kae, for your eloquent insights
and depth of understanding about the
power of trend!
the last word