sample issue: the trend curve™, june 2012

7/30/2019 Sample Issue: The Trend Curve, June 2012

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One thing was certain when it came to color in

High Point: it was meant to be noticed. Bold,

intense, and sometimes bright hues appeared

at every price point. Even at the high-end, companies

revealed a move away rom saturated deeps and

toward saturated brights:

An intense, coral-orange was at the entrance

o Pearsons showroom

Dranseld & Ross presented a bright-orangeboucl cushion

Haute House was among those highlighting

emerging turquoise

Dwell Studio showed an edgy yellow/black

watercolor print abric

Norwalk covered a chair/ottoman in a retro

print with a lime ground

Mod wall art from Rosenbaum Fine Art

combined orange, pink, black and white

Orange was a standout color amily. This was true not

only because o the nature o many oranges (bright,

i not loud), but also because o how oten orange

appeared throughout the price-point spectrum. Blues

continued their upward climb, with navy and denim

looks balanced by turquoise, duck-egg and mid-value

peacock. In shades from Kelly and grass (incoming)

to mint (building) and citron (established), green was

nipping at blues heels.

But it was the red amily that just had to be noticed.

While not nearly as prevalent as oranges, blues or

greens, this range was nevertheless compelling. In

peony, mauve, hot pink, berry and a few variations on

wine, pinks showed it has real potential for late 2013

into 2014. The same was true for real reds, especially

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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 G

2012 MARKETING DIRECTIONS, INC. ANY REPRODUCTION OF THIS PUBLICATION IS A DIRECT VIOLATION OF FEDERAL COPYRIGHT LAW. THIS INCLUDES, BUT IS NOT LIMITED TO, COLOR COPYING, ANY OTHER PHOTOCOPYING OR FAXING, E-MAIL DISTRIBUTION OF COPY OR POSTING CONTENT ON THE INTERNET.

06.12

Peony pink and wine

stood out at Pearson

ThinkPink


2/8

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BUT IS NOT LIMITED TO, COLOR COPYING, ANY OTHER PHOTOCOPYING OR FAXING, E-MAIL DISTRIBUTION OF COPY OR POSTING CONTENT ON THE INTERN

to growth status as major case-goods collectionsjoined ongoing upholstery and decorative acces-

sories to round out category of ferings. At the samtime, this markets newest pieces suggested that

industrial reerences, which have been at the core

of this style so far, are ready to step back.

In directional lines, layered nishes and a neutral

palette still prevailed, yet reclaimed planks and

visible soldering were absent. And while the lates

nishes were equally aged and just as light in

value as ongoing industrial looks (lighter was

trend-orward or all wood in High Point), most

new vintage items also came with:

Classic design elements

Curvy forms

European styling that eschewed a reclaimed-

rom-the-actory-foor sensibility

Adding these elements of sophistication and

renement to vintage style will ultimately make

this evolution more salable than anything with an

industrial pedigree.

The graceful shapes in Bernhardts Belgian Oak

collection, for example, evoke classical historicdesigns of Belgium, the Netherlands and Scan-

dinavia. Broad scallops are key, as are stepped

molding outlines and double rows o mini nails.

White-oak solids/veneers have a highly visible

grain that is lightly cerused, brushed and waxed

into a weathered, French Trufe nish that keeps

even oversized pieces rom eeling too heavy.

Hookers 75-piece Rhapsody Collection also takes

wood in a lighter direction. Its walnut-colored

blood reds that Natuzzi and others say

add must-have pop to room settings.

The counter-trend to so much color

came rom neutrals that also had a

major role. At Baker, designer Thomas

Pheasant relied on a series o neutrals

to put the emphasis on modern-tradi-

tional case goods and upholstery orms.

Combining neutrals was also right

for Monterey Sands from Lexington,

eaturing wire-brushed gray elm-wood

veneers and upholstery in taupe, ivory

and gray, with sot compliments o

organic blues and greens.

A number of accent items blended

directional metallic touches into the

neutral story. Pearsons linen swivel

chair had a woven-in lament yarn for

subtle metallic luster. The Solstice arm-

less chair, from the Aquarius collection

by Lexington featured similar sheen. At Baker,

Thomas Pheasants Thassos Stool, inspired by a

classic Greek key, came in burnished gold or silver

lea, in addition to cameo, an o -white.

Taylor King was more obvious, adding a wiped-on

metallic over a croc-embossed aux leather otto-

man. So was Ferguson-Copelands gold-metallic

shagreen, the perfect punctuation mark within a

neutral vignette. Arteriors coated a white-shaded

porcelain lamp base in a gold metallic.

Pastels popped up throughout the market, shown

as hints o color that went just a step beyond

neutrals themselves. This was a calmer, and moreashion-orward choice than the bright hits o

color that made neutral vignettes pop.

Preerred neutrals ocused on o-whites and

grays (makers said gray not slowing). However,

stone and other warmer grays looked fresher than

cool types, especially in the light and

mid-tone values that signature the neu-

tral category. And what about brown?

As one upscale company put it, brown

seems to be delayed. Still, we expect

to see many more brown shades by the

time 2013 begins.

Vintage Evolution

The vintage trend was alive and

thriving in High Point. The number

of introductions in this style rmlyrepositioned the category rom niche

2

Dransfield & Ross showed

bright-orange boucl

Color was the star

in Century Furnitures Year

of the Dragon collection

From Hookers Rhapsody collection


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June2012

rustic nish over pecky pecan is accented byspecialty nishes, like tipping and crusting effects

for an aged feeling and a light look with a raw-

wood eel. The urn console, nested scroll tables

and tuted sleigh bed all reinorce elements o

European design.

Arrondissement, by Stanley pairs European-

inspired step molding, scroll detailing, carved

nials and serpentine corners with relaxed con-

temporary lines. Crafted from pin-knotty cherry,

cathedral anigre (a light tropical wood with a tight

grain) and accents o primavera and mappa burl,

some pieces feature allover tooling. Among thenishes is Vintage Neutral, a white shade layered

with hints of smoke, brushstrokes and copper

highlights. Hardware is similarly complex: solid

brass with brown and gold oxidized highlights or

hand-painted brass with verdigris.

Decorative accessories also took a turn toward

sophistication. At this market, bound books with

python- or ostrich-leather spines inserted an

upscale layer of trend into the style (Go Home).

Toss pillows were decorated with interesting stud

designs ( Jamie Young) and chainmail covered a

mercury-glass lamp base on an antique-brass

platform (Arteriors).

While vintage-industrial style has never really elt

masculine, it does tend to be blocky and nave.

The more-rened shapes found in this next step,

when used alongside current pieces, will soten

the mood while the trends sensibility transitions

from rough to rened. These shapes will also

move consumers closer to the casual French

looks Americans have loved for years. Expect

3

this new take on vintage to add momentum to analready-established trend, turning it into a long-

term bestseller through at least 2014.

Making Asia Major

Asecond style stood out in High Point as

important or the uture. With a boost rom

2012s Year of the Dragon designation, a re-congured Asian trend was taking root. In contrastwith vintage style, this trend was lled with intense

hues that not only orced the eye to pay atten-

tion, but also added a touch of whimsy. Scale alsohelped Asian get noticed, as oversize elements pro-vided a 21st century perspective. For example:

Fretwork (directional, recommended) was

blown up to make it fashionable (Century)

Scenics, which might once have been shown

as a demure toile, were given a major presence

in a room (Lillian August)

Braid grew to massive proportions on pillows

(Elaine Smith)

Upsized dragons looked frightening, especially

when they came in intense colors (C.R. Laine)

Even when embracing delicate blue-and-white

color stories, extreme size made the butterfy a

gure to be reckoned with (Pearson)

Materials played a role in updating this trend.

Century called on Pakistan green onyx, stain-

less steel, acrylic, antiqued mirror and glass.

Shagreen was key as an embossed material

Stanleys neutralized look in Arrondissement Light wood and a dramatic silhoue

the Belgian Oak collection from Ber

C.R. Laines updated Asian vig


4/8



4

(Made Goods) or a ceramic texture (Tozai

Home), followed by grass cloth (Ferguson

Copeland). Century added texture via

nishes that mimicked malachite, sapphire

and garnet. Brushed metal in dull silver

tones looked right (Phillips Collection).

Directional patterns began with bold geo-

metrics, and then went on to colorul forals

that appeared allover, or on ginger jars that

worked in form or as pattern. Cherry blos-

soms, chrysanthemums and other typical

owers were simplied and sometimes

large (Pearson showed an exploded allover

mum on an upholstered chair). They were

newly combined with traditional elements

like geishas in patchworks that have not

been a part of Asian style before (Mas-

soud). Other design elements:

Bamboo, used within pattern (Global Views)

or shape (Lilly Pulitzer)

Or igami, suggested in the angular form ofsmall stools (American Leather)

Greek-key shapes and patterns, both literal

and adapted (Century)

Pagodas were out in orce. They acted as pulls on

Maitland-Smiths Shanghai 1930s-styled desk,

appeared in fabric prints at C.R. Laine, became

decorative accessories that extended many stories

high at John-Richard and inspired tables that were

tall and thin or wide and attened (Astele).

All the updates to this stylefrom color, materials,

texture and shapedifferentiate this look fromthe calm and neutralized Zen sensibility o the

past. They make updated Asian style both fresh

and exciting. Thats why it will remain on the trend

radar long after the Year of the Dragon has passed.

Milan 2012

A

t the 2012 Milan Furniture Fair, restraint

was the underlying mood. Still, crowds that

fowed through the air and outlying districtsrefected a new optimism.

Bold color was part of the story. It brightened the

home front and kept the mood forward-looking.

Milanese fashion merged with furniture in a mix

o electric neons, bright citrus colors and a green-

cast yellow that looked so fresh when toned down

by neutrals l ike pearl grey, melon and cappuccino.

Turquoise emerged in a big way, energized by

analogous shades o blue, especially denim and

cobalt. The latter hue worked with classic Rubiks-

cube red, yellow, green and orange brights thatushered in a modern comeback for color blocking

(DKC). As a countertrend, sugary pastels sweet-

ened the color mix with so t shades o pistachio,

powder blue, raspberry, and banana.

Materials got noticed when technology was over-

laid onto tradition, blending past, present and

future into a modern sensibility. For example:

A young designer at Salon Satellite assembled

lamps with ea-market porcelain and hand-

crated blown glass

At Casamania, worn-out garments weredipped into a resin bath and molded into

Rememberme chairs and tables

Wonderwalls remarkable wall surfaces were

constructed (and stacked) from weathered

scrap wood with traces o age-old paint

The Yuhang design group from China intro-

duced Gu, molded bamboo-paper seating

inspired by traditional armchairs

The best place to sit out underlying trends was at

Spazio Rosanna Orlandi, a showcase for innova-

tive materials and concepts. Thats where many

designers showed products using unexpected

materials and resh techniques. This venue rein-

orced the airs big buzzword: Process.

There was a real ocus on how process impacts

materials, production techniques and even social

ethics. People are always interested in how things

are made. This airs mission was to show how

abrication techniques and advanced materials

provided thin, lightweight solutions or electronic

The Bamboo Rug from Global Views Gu, made of molded bamboo

paper, form Yuhang design group

For more about the Milan

fair, read Form Favors

Milan after you log into

the Members area at

www.trendcurve.com


5/8


June2012

device storage, new lighting xtures with laser-

punched pattern cut rom metal plates, curved-plastic chairs made with 3-D printing and more.

In the Mutation series, Maarten De Ceulaer

shaped molded soy-based oam into organic

orms resembling a mutated virus. The designer

created a ocked nish using a magnetic energy

eld. For those who couldnt resist a snuggly chair

with ears, the Bunny armchair by Iskos-Berlin

for Normann Copenhagen offered a whimsi-

cal approach to the traditional wingchair. Held

together with a rope, the chair looked like an over-

sized plush toy.

Seasoned architects Alessandro & Francesco

Mendini interpreted futuristic pattern with nine

vertical-plywood gures that were decorated with

digital-inkjet prints: swirls, patchworks, spirals,

puzzle shapes. Oak, beech, palm, and Chilean

lenga were the preerred woods, but inlaid wood

stained in fresh hues looked new on geometric

desktops and side tables. Also of note in Milan

was a shit in surace texture toward matte and

dry nishes. The best among them were based on

natural textures:

Tumbled stone Sun-bleached shells

Low-luster wax

Because Milan has a longstanding reputation as a

showcase for slick, contemporary designinclud-

ing cutting-edge orm, experimental materials

and reective surfacesan embrace of matte and

natural characteristics is a signicant signal that

contemporary style may have a much warmer eel-

ing going orward than it has in the past.

5

Tabletop Trends

At the Spring 2012 New York Tabletop Market,color overpowered theme and moti to lead

the charge to newness. Last market, cobaltblue and gray topped a narrow list o preerences.

Going forward, the table will be graced with a

broader variety: intense colors, pastel shades and

rich jewel tones. Several key makers gave buyers a

taste o these bright, sot and rich hues to come incolor stories that moved in parallel with the ashion

runways. Many new patterns related to wearableashion as well.

With the 1980s making a comeback in apparel,

infuences rom that era can also be seen on

the table. In fact, many new patterns could have

been pulled rom the pages o the latest ashion

magazines. For example, Villeroy & Bochs Anmut

Bloom emphasized colorul graphic fowers

scattered across the plate. Mikasas Staton Rose

combined light purple or champagne with pale

gray in a geometric pattern that borrows rom

fashions of the 1980s.

The Paolozzi collection from Royal Doulton was

inspired by the work of artist Sir Eduardo Paolozzi

(19242005). It featured a bold, geometric pat-

tern combining bright hues in an artistic design.

Kulor, by Dansk, highlighted graphic stripes in

red or blue. And Kate Spade used her classic bow

moti to create not only a graphic dinnerware col-

lection, but also a sculptural one. Lenoxs Castle

Peak looked like gem facets. Offered in sophisti-

cated cream and black, its red accent pieces addthe perect punch.

A more-casual approach to the table was

reected in the ethnic and folkloric looks that

were coming on strong in New York. This is a

continuation o the global trend that was

emerging last market. But this time,

designs looked more homespun and

down to earth. They also embraced

bolder sensibilities.

Case in point: Fable, by Royal

Doulton borrowed from primitiveScandinavian patterns. It featured

trees and birds in a red, white

and blue palette. Prima Design

partnered with Marcela Villadolid,

host of Food Networks Mexican

Made Easy, to introduce serving and

food prep items with a Latin inuence.

Denby went back to its archives for Heri-

tage, a simple modern country collection.

The table will continue this approach, bringing

The Bunny chair

from Normann Copenhagen

Emerging ombre patterns

were seen at Gibson Over-

seas , Mikasa and Wedgwood

Anmut Bloom floral

from Villeroy & Boch


6/8



together color and ethnic infuences

into 2014.

O course, not all new patterns

were bold. Crosshatch designs

were spotted on Vera Wangs

Simplicity dinnerware, and they

were new on the scene in Thomas

Fuchs Roly Poly glasses. A

pencil-sketch pattern on Mikasas

Delancey dinnerware also sug-

gested an emerging lightweight

countertrend to bold and primitive

designs.

Formal dinnerware took a cleaner, more

sophisticated turn with classic and architectural

design elements, mainly seen on white plates with

platinum accents. Radiant and sunburst patterns

dominated newness. Marc Blackwells St. Moritz

took it one step further by combining radiant pat-

terns with bright hues, adding a touch o whimsy

with a gold sun in the center of the plate. Mikasaborrowed from ancient Greece with classical

Hellenistic patterns (including the Greek key) on a

white plate with platinum accents.

Classic white dinnerware also got a facelift. Thats

not to say that all-white dinnerware is on its way

out. As long as there are foodies, there will be

white on the table. But just as designers have

already developed interesting and unexpected

orms to stave o ennui with white, they have

more-recently ound a new willingness to insert

surface design into the equationas long as it is

limited to simple, classic stripes.

These clean lines are in keeping with the concept

of presenting food on a blank slate, adding just

a touch of pattern without taking away f rom the

simplicity o the neutral orm. That means round,

white plates accented with rings around the rims.

For example, black lines were eatured on rims

in Isaac Mizrahis Vertigo pattern for Gibson

Overseas. And thin, soft-blue lines were seen on

Nikkos Surari dinnerware collection. This season,

Portmeirion is offering Sophie Conrans collection

in all-white plates, with a single ring at the rim, inall the colors available in the collection.

Rim treatments are a staple of the ne-china cat-

egory, where metallics still mean more than color.

While platinum remained the metal of choice in New

York, gold continued its quiet comebackone that

has been impacting all home products or about a

year. Lenoxs new Garden Grove was among several

designs featuring a gold rim. Gold was also domi-

nant for accessories. Julia Knight debuted Floren-

6

tine, a new collection in gold inspired by Byzantine

jewelry. Michael Aram updated existing patterns

by adding gold accents to his signature nickel-plate

and stainless-steel options.

The story continues with Shape on the Table

in the Members area at ww w.trendcurve.com

ACC

The concept o unctional art was at the

heart of the American Craft Council show,but jewelry that became sculpture was the

freshest edition. Jennifer Merchant Design used

layered acrylic and Corian to create rings, earringand bangles that looked stunning, even when notworn on the body. Chunky and sometimes embel-lished with crystals, these items had asymmetrica

and angular shapes that made them stand-alone

works of art. The acrylic pieces had pop-art image

layered inside to give each one a burst o trend-

orward neon color and whimsy.

Brandon Holschuh took the jewelry-as-art con-

cept one step urther. His brooches and bracelets

resembled organic pods and sea urchins, an

incoming orm seen throughout the show, and

incoming in dcor. Oxidized-nished copper and

sterling silver added to the organic eel, while tiny

diamond or emerald gemstones punctuated the

look with dashes of glitz. But the most innovative

aspect was that each piece came with a display

armature so, when not worn, it became a sculp-

tural item on display.

Surface design showed a signicant preference

for squares and rectangles. Richard Parrishs Fusio

Studio Inc. used rectangles as bars of bright color

in glass platters. The geometrics clustered together

creating a busy pattern that appeared random, yet

was thoughtully arranged by the artist.

Brights also avored geometric tendencies at

Mikasas Stanton Rose

recalls 80s geometrics

Andrew Van Assches

cascading pattern in pastels


7/8


June2012

Sheryl Tuorilas Fine Art Tile. Her wall hangings

showed ceramic and glass tiles o squares and

rectangles nested together like puzzle pieces,

with the occasional circle thrown in. Her newest

color story, however was in pale grays and blues

with peach and beige accents, underscoring the

importance o incoming pastel values.

Andrew Van Assches slab-built stoneware ves-

sels continued the pastel-plus-geometric theme.

Also in cool, pale tones, a surface pattern featur-

ing rows o rectangles played with space as each

tilted in a new direction. Similarly, squares turned

into rectangles as they became increasingly

thinner, creating a visual cascading eect that

appeared in several other booths.

Artisans eschewed simple daisies and tulips. In

their place, complicated and spiky orals, such

as peonies, mums and even thistles, looked most

forward. Kaleidoscopic (incoming for dcor) and

star motis will be the next step in this direction.

At Beads Buttons and Baubles, Sarah Nelson

Shrivers sanded and polished polymer clay jew-

elry eatured these intricate patterns and orms.

The artists newest bracelet sat on the table like a

scene from a kaleidoscope come to life.

Recycled and upcycled materials were a major

focal point this year. A special area was set apart

to display several artists uses o repurposed

objects. Examples included objects such as a

bowl made rom a submerged bridge piling and

wood oil lamps eaturing tops made rom chain-

link fenceposts.

The upcycled pieces that were most noticeablewere those in which the original objects used did

not lose the essence o their previous lie. The

most elegant example was Willie Willettes coee

table. Made of cedar reclaimed f rom a womens

sauna, the wood sat on spin-bike wheels. The

materials were minimally altered, but put together

in a whole new way, which allowed the table to

become an independent object o design.

7

KBIS

There was good news at the annual

Kitchen and Bath Industry Show.Although the size of kitchen-remod-

eling projects continues to all, consum-

ers have once again started looking for

details to help them personalize their

spaces. That has motivated compa-

nies in interesting ways. It meant moreedge proles from Wilsonart, a broadercolor line at Silestone, debuts withpronounced veining from Cambria anda range of new nish techniquesthekinds once available only in higher-endcabinetsfrom Wellborn.

For kitchens, pullout and pull-down faucets led a

convenience trend that is not declining. Pull-out/

down is rapidly becoming the new normal, and

every major brand is paying attention to it.

Electronics are also getting noticed as thepopularity of touch-control faucets rises. Smart-

Touch Technology, available on Brizos Solna

kitchen faucets, allows the user to touch any-

where on the body, spout or handle to turn water

on or off. An integrated LED light indicates when

the feature is active. In addition to operating with

a conventional handle, Moens MotionSense

aucets detect motion in two zones. Wave your

hand over the top or near the base and water will

fow until your hand (plate, pan, etc.) is moved.

Convenience is just one reason for this change.

Water conservation and aging in place are also

important motivators or choosing this eature.

Color is another key trend. Its impact on the

kitchen began with color blocking. It was applied

to faucets at Delta, where Chili Pepper Red, White

and Black paired with a brushed stainless-steel

nish. Cabinetry was even more interested in

color blocking. At Wellborn, from two to four

wood nishes and/or colored stains

worked in one environment (think upper/

lower, island/cupboards or pantry/island/

cupboard contrast). Metallized bronze

and copper accents were also in the mix.Using metallic glazes (or metallic touches

in general) is another incoming trend.

Wilsonart says consumers are coordinat-

ing textures/colors/nishes in kitchen

counters. On the appliance ront, Whirl-

pools White Ice collection accented white

appliances with chrome/stainless-steel

handles in an approach to color blocking

that was much more subtle.

Neon brights from

Richard Parrishs Fusio Studio

A color-blocked approach

shown at the Wellborn stand

The story continues online.

Log into the Members area

to read about Ten Important

Bath Trends From KBIS

Kohlers Octave sink

with unique curves


8/8


Michelle Lamb

is the ounder and chairman oMarketing Directions, Inc.,

publishers of The Trend Curve and

numerous special reports covering

major markets.

Marketing Directions, Inc.

inorms national and international

manuacturers and retailers on

industry trends.

The Trend Curve is published byMarketing Directions, Inc. six timesyearly with inormation rom majormarkets and trade shows importantto the home urnishings industry.Subscription is available at $199.00per year when delivered within theU.S., $269.00 for all other countries.Back issues ($30 each) and custom

publications are available.

Marketing Directions, Inc.14850 Scenic Heights RoadSuite 155Eden Prairie, MN 55344 USA

(952) 893-1245or call toll-free (800) 531-6614Fax (952) 893-1264

E-mail: [email protected]://www.trendcurve.com

The Trend Curve - ISSN#1080-1324

Michelle LambEditorial Director

Editorial Correspondents:

For ACC:Laura Coln

For Milan: Patty Bouley

For NY Tabletop:Bessie Nestoras

While every eort has been made

to provide accurate inormation,

Marketing Directions, Inc. cannot

be held accountable or any error or

omission and there is no warranty or

representation, express or implied,

that the inormation provided in this

publication is denitive. Marketing

Directions, Inc. is not responsible

or any costs, expenses or damages,

actual or consequential, resulting

rom the use o this inormation.

the last word

Whirlpool was not the only company to

acknowledge an interest in both black and

especially white appliances as an alternative

to stainless steel. Jenn Airs Pure White appli-

ances looked fresh after years of stainless

dominance.. Even though 95% of luxury appli-

ances are still sold in stainless steel, high-end

Wolf says black had a positive response from

focus groups, resulting in their Series E prod-

ucts in black glass. Other kitchen trends:

Super-dark cabinetry has been on-trend

for 18 months, but lighter/drier stains

la vintage and Danish Modern style are

gaining (Wellborn)

Glazes on cabinets are going lighter, less

obvious (Wellborn)

Warming drawers are working in triple-

stack oven layouts (Wolf)

Side-by-side built-in range layouts are

just beginning to replace stacks at the

high end (Peggenpohl)

Quartz is adding not only more depth

and movement, but also more sparkle

via metallic touches (Cambria)

Uniquely shaped sinks (preferred byconsumers) are gaining traction (Kohler)

Chrome is still the top nish for kitchen

faucets, but by 2014 tumbled bronze

(Danze) will erode some of its volume

The rapid adoption of induction cooking

is causing prices to come down (Jenn-Air)

Summer is a laid-back season. Most

people take time off, enjoy the weatherand recharge their internal batteries. At

The Trend Curve we do that, too. In addition, weupdate our 360-degree view of color.

I have already nished the research for my

next major color-and-trend orecast, The Trend

Curve Colors 2014. Color is the rst and

most-important consideration or this product,

and I never rush it. I love the selection process,

especially near the end when I have to edit

down to the nal collection. No matter how

many people are on the color team each year, I

always do the nal edit myself. So far, the color

feels more focused than ever. I think it will be

an exciting new collection that refects the

increasing role o color in dcor.

Over the past few weeks I have had conver-

sations with Members about translating our

colors into Pantone reerences. This is not a

new subject, but it has been a ew years since

I was last approached about making The Trend

Curve Colors work in the language of Pantone.After pouring my 25+ years of trend forecasting

into a palette I believe in, I always inch a bit

when the subject of Pantone comes up. Dont

get me wrong, Pantone is a ne brand. I simply

know that all colors, especially the newest,

cannot always be matched in their systems.

I believe that it is the nuance that makes

color new. When you start compromising on

one hue, suddenly others dont look quite

right along side it. So, several colors have to

move off their trend-forward position to make

combinations work. The result often looks old,

not new.

We think color should always look new. It

adds visual excitement and gives consumers

a reason to buy. Thats why we devote the

six-weeks time and major expense to specify-

ing our colors, and having the color swatches

you receive in our color-and-trend orecasts

matched and coated to those specications.

We do our best to ensure that using our color

is easy. We print a grid on the back so you can

cut them up and share them with your team

or suppliers. We also include a portable mini

deck, and we offer additional swatches of

every color, at a nominal ee.

Having said all that, we are here to serve our

Members. I am willing to keep our process, but

shift our product. If those who use our color

want only Pantone references, we will make

that change in our 2014 package. That would

mean notations would be provided rom onesystem, most likely the Plus Series. There

would be no color swatches.

PLEASE LET ME HEAR FROM YOU ABOUT THIS.

Ill make a decision based on the feedback I

get from Members. Email your comments to

[email protected] by June 25. Ill

keep everyone informed of our nal decision.

sample issue: the trend curve™, june 2012

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