the trend curve™ december 2013 - sample issue

5/26/2018 The Trend Curve December 2013 - Sample Issue

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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.

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trends

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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

2013 MARKETING DIRECTIONS, INC. ANY REPRODUCTION OF THIS PUBLICATION IS A DIRECT VIOLATION OF FEDERAL COPYRIGHT LAW. THIS INCLUDE

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

12.13

NeutralRevival

Lexingtons

mix of neutral,

including the

Adler nesting

tables andConrad sofa


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2013 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.

thetrendcurve

Decembe

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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2013 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.

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

Marketing Directions, Inc. six tyearly with information from mmarkets and trade shows impoto the home furnishings industSubscription is available at $19per year and is delivered digitaat www.trendcurve.com. Pleascontact us regarding back issu

custom publications.

Marketing Directions, Inc.PO Box 44475Eden 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 -1

Michelle LambEditorial Director

Editorial Correspondents:

For SOFA:Elaine Markoutsas

For High Point details:Liz Bor

While every effort has been ma

to provide accurate informatio

Marketing Directions, Inc. cann

be held accountable for any er

omission and there is no warra

representation, express or imp

that the information provided i

publication is definitive. Marke

Directions, Inc. is not responsib

for any costs, expenses or dam

actual or consequential, result

from the use of this informatio

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

the trend curve™ december 2013 - sample issue

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