the trend curve™ - february 2014 - sample issue

There was plenty of newness when it came to color at the Maison & Objet trade fair in Paris. The biggest change was one that favored pinks.

The pink color family was on a tear. Soft, warm personalities made them feel cozy and inviting. This was especially true for pastels, which had roles in everything from upholstered seating to ceramic vases, and were as likely to be specified for contemporary products as for any other style. Coral pink put down roots in middle value saturations. Although mid-tone rose also appeared, coral was the directional choice.

For any of these pinks, berry sometimes

appeared as a foil. But pink/pink combinations were much less visible than pink/green ones. With many new products positioned for spring selling, pink/green was not a surprise. However, given the fact that pink/green was also a big story from Christmasworld (more from that show in the next edition of The Trend Curve), the potential for these two families going forward holds more than springtime possibilities.

As a countertrend to warmth, fuchsia emerged. Brighter and bluer than the other pinks, fuchsia held its own among neutrals or earthier hues. This color is recommended for 2015 (see Pixel Pink in The Trend Curve Colors 2015).

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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 S

2014 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.

Pink led the way to newness at Muuto

2 . 14

Think Pink!

2014 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.

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The surge of popularity that greens experienced in Paris came as a build on 2013s success. Cool, minty greens could still be found, yet their advance had slowed considerably. Meanwhile, newer greens that took to the warm side spread out.

For example, moss was new in multiple stands. So was olive. A lighter and less-saturated version of apple was used where brights were called for. This less-intense green worked with chartreuse, which did not either grow or decline. A dark value called hunter green was the most-visible deep color in the market.

This movement toward warmth came along with a trend toward earthy colors, textures and patterns that was emerging throughout the market. In addition to warm greens, it was also reinforced via peach and terracotta. Oranges were still declining in Paris, so these two orange personalities were not the biggest story out there. But they were the oranges with growth potential going forward.

Browns also conveyed an earthy message as they established themselves as the go-to neutral. Saturated beige and paper-bag browns were seen more often than chocolate. However, chocolate was building, too. In some upholstery stands, there was a sense of looking over a sea of browns. All those browns made declining grays look even more dated. Other color news:

Whilebluesbackedoffgenerally,Mediterraneanandturquoisewerenew Yellownarroweditsscopesignificantly Mustardandgoldmetallicweretheyellowsthatmattered Redswereshy Thenewestredshadascaled-backorworncharacter,suggestingpink Blacktookagiantstepback Sodidwhite,continuinganearlierretreatattheSeptemberfair

Marble, Metal and MoreAt Maison & Objet, marble was on-trend in a big way. It was used for tabletops, lamp bases, sculptures and candleholders. White made the strongest statement, although black was not far behind. That said, the fairs emerging interest in earthy warmth suggested that brown marble, which also appeared, will also be a factor in the coming year. Green marble, absent since the late 1980s, popped up in an analog clock from style-setter Menu, and as the top of a drinks table from upstairs maker Ginger & Jagger. No wonder green marble is on the watch list

for 2015.

Alabaster, with a marble-like appearance and a similar 80s pedigree, will benefit from marbles popularity. While just a few companies used it this time, alabaster is an obvious choice to rise on marbles coattails.

Concrete has been hinting as a broader role for about a year. AttheJanuaryfair,itfinallytookoff.Thefactthatitwasalwaysshown in natural gray made this materials ascendency a countertrend to the decline of gray neutrals.

Concrete, mixed with fiberglass to keep its weight manageable,

Warmer greens were directional: Porada

New colors from Marie Daage included fuchsia, turquoise

and Mediterranean blue


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was formed into whimsical indoor/outdoor planters shaped like a top hat or a pair of shoes at Seletti. DM Depot made modular concrete-composite honeycomb chambers for growing herbs, called Hive. Other applications:

MenschMadesdamaskmotifsweremadetohanginmultiplesasascreenorroomdividerDanteGoods&Badsshowedoversizedelephantfeet,toppedwithcoppertobecome whimsical tablesMenulikedthesamecombination,doneincandleholdersMenualsopairedconcretewithglassBaptizedByNatureteamedconcretewithwoodinboxytables

The preference for warmer metals and metallic finishes that was observed at last years fair just kept on building. Golds penetration continued to nudge silver aside, even in contemporary/modern applications. Brass was back, increasingly in unapologetically shiny looks that made tabletops and lighting gleam. Gold leaf hinted at a return for luxury products.

Both brass and leaf looks moved gold -finish colors into yellower territory that would have been considered dated, and even gaudy, just a few years ago. But by the time 2015 is over, distinctly yellow-gold finishes will be used to indicate status.

Copper also took share away from silver. This copper was not too orange. Instead, it had lightweight personalities that matched the rose-gold tones coming from jewelry and watches. It was not uncommon toseecollectionsofferedonlyinwarm-metalfinishes,withachoiceofcopperorgold.Bronzeappearedoccasionally,offeringyetanotherwarm option. As browns advance, bronze will become more common.

While oak remained the top wood, oiled finishes that darkened the look from blonde to mid-tone values, had a bit more exposure. At the same time, many companies introduced, or expanded, their position inwarmlystainedwalnut,indicatingrequestsfordarkerfinishesfromtheir customers.

Even though exotic woods, like ebony and various burls, had a small role, it was notably larger than last time. While this could be the result of an improving worldwide economy (since these species always push up product cost), it is worth noting that highly figured woods advanced for the first time in many seasons at the October, 2013 High Point furniture market.

Organizing Principle

If just one word could be used to describe the personality of new designs at Showtime, the hands-down choice would be layered. If two words were allowed, textured would have to be next. When texture and layering worked together, as they did in the most-directional fabrics, patterns became more complex than they have been in years.

Some companies took a straightforward approach, like spreading a large damask over a thin stripe or a thin chevron over a blocky plaid. Other layered patterns were far more difficult to describe.

Dorell Fabrics showed a woven fabric in which a pinstripe ground was packed with blocky

Chapeau, from Seletti, in concrete composite

Mahogany, chestnut, lacquer, hammered gold and marble in Ginger & Jaggers Pebble lamp

Dorells layered numerical camouflage


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numbersofdifferentcolors.Everytimeonenumberoverlappedpartofanother,notonlydidthe color change, so did the weave texture. While these shifts were intended to highlight the overlap, a neutralized palette of grays/browns/blues made the contrast subtle, suggesting a numeric-camouflage.

Anumberofdesignsfeaturedombreffectsthatwereequallysubtle.ButShowtimestopvehicle for layering and texture was not limited to understatement. Companies like Textile Creationsusedcoloredgradientstotheirfullesteffect.

Basic ombrs in either approach produced a gradient color-shift across patterns. Newer and more-complicated versions pushed the look forward by adding pattern within the meandering color, or even adding that pattern its own texture (think watercolor), as it crossed over another design.

Inavariationonthetheme,AdesalJacquardsuperimposedwispy,sketchedflowersovera simple plaid. (Sketching, including the look of pencil lines below watercolor motifs, was incoming as part of the interest in all things artisanal). The blossoms obscured the plaid ground to greater or lesser degrees, so the plaid drifted in and out of view.

Layering vertical and horizontal patterns was in the earliest emerging stages. Circa 1801 crossed a stripe and a zigzag, both of which had a scraped texture. At American Silk, loose stripes with uneven edges that suggested reverberation went in a horizontal direction. Meanwhile thinner stripes with an irregular and interrupted rhythm lined the pattern from top to bottom. Two directions of stripes, both with watercolor texture, made Paras print fabric fascinating. Other ways to layer:

Addingaphantompattern,orevenashadowintheground

Outliningamotifrepeatoveratextured,allovergroundora fully-colored/textured design

Compositionsinwhichdegreesofboldnessforeachpatterncreatedanillusionoflayering

A number of different layering methods took up where the vintage-

industrial trend of the recent past left off. But instead of

layering songbirds, indistinct script, retro postage stamps and

crowns, subjects were less predictable and

textures became more pronounced.

Flowers mingled with plaid at Adesal Jacquards

Contrasting directions with lots of texture: Circa 1801

American Silks reverberating layered stripes


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Geometric DominanceA look at the pattern landscape confirmed geometrics as the undisputed favoriteatallpricepoints.P.Kauffmancalledgeometricshuge,suggestingtheyofferasafewaytodoaprint.Covingtonagreedthatgeometrics are bestsellers, saying their extreme popularity is because geometrics are so easy to decorate around. But dont expect geometrics of the future to look the way they have in the past.

De Leo says geometrics are evolving from the basic, rigid forms we have known into ones that feel artistic, organic or even digitally inspired. At Showtime, that meant ikat-influenced edges (Textile Creations), hand-drawn looks (Kentex), puckered grounds (Valdese Weavers), tiny-texture fills

(Sunbury),watercolor/brush-stroketechniques(Covington),woodcuteffects(Circa1801)andpuffyquilting(HomeFabrics).

Small boxes suggested a blurry, pixelated approach that was applied to basket-weave layouts, Pac-Man-like mazes, diamonds, stripes, many chevrons and even a damask. Meanwhile, crosshatch patterns alluded to the new geometric sensibility. Looking more like a doodle than a grid, these loose designs were unevenly textured and sometimes looked randomly placed. (See a gallery of new crosshatch layouts in the Members area at www.trendcurve.com)

This softer take on boxes, dots, honeycombs and lines makes them newly appealing to those for whom hard-edged figures are too severe. It also takes them in a transitional direction, reinforcing a re-emerging style that was spreading through Showtime textiles as it begins a 3-year growth cycle.

While geometrics caused lots of conversation, they were not the only pattern direction of note. In a countertrend highlighting traditional forms, paisleysand paisley-inspired medallionscontinued to emerge. What was interesting about these figures was how updated techniqueswrenchedpaisleysoutofthepasttogivethem21st-century potential.

For example, Pemberley, which was new from Valdese Weavers, featured horizontal lines of blue or green paisleys wovenoveragroundofwideredoroff-whitediagonalstripes for a complex, layered look that is directional. Sunburysalloverwovenpaisleyfloatedoveranoff-white-and-green stripe ground.

At Home Fabrics, an intricately woven paisley was updated via a huge scale that fits with the incoming trend toward larger furniture pieces that re-emerged about a year ago. Motifs got somewhat smaller in P. Kaufmanns paisley print, with a repeating ikat figure in the ground. Another P. Kaufmann design took a trend-right watercolor approach, softening both paisley motifs and the floral elements printed in the ground.

De Leos Solera pieced-dyed velvet was printed with an on-trendombreffect.Afoil-embossedpaisleypattern

Tiny-textures fill geometric figures at Sunbury

Home Fabrics took paisley scale larger


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applied via heat-transfer resulted in a vintage look. While this allover aged texture came from layering processes, rather than texturing the motif itself, it did just as much to soften the personality of the pattern as ikat-influenced edges did for geometrics.

Other methods of alluding to age were also incoming and will continue to grow into 2016.Theseincludedthesuggestionoffadingorworn-away/scraped-offpatternsthat is just getting a start now.

Give Me Some SkinWild-game skin patterns are day-in/day-out basics that never leave some collections. Product designers appreciate their versatility because they can

make a provocative, whimsical, luxury or global statement, depending on how they are used. At the same time, consumers understand them. So, when these skin designs also jump into the realm of trend, their ascent has few obstacles, and their potential is huge.

At the June Showtime market, nearly every company debuted fabrics with big-cat spots or tiger/zebra stripes. By the time the December market rolled around, the need for big-cat spots and tiger/zebra stripes had largely been satisfied, and the market turned in another direction. This time, snakeskin made big strides.

AtHomeAccentFabrics,awovencobra-skindesignfavoredlight-brownandoff-whiteneutrals.Inadditiontoalight-valueneutralversion,Ramtexpairedgraphitewithyellow-castplantationgreen. Chenille gave snakeskin a fascinating texture at De Leo, while Sunburys glittery skin design emphasized the importance of metallic influences going forward.

Concerias embossed-leather Tilapia pattern took the scale in a smaller and more-regular direction in bronze, copper or graphite metallic for a luxury statement. Then they shifted to fish-skin embossing, overprinted with a broad plaid for a new approach to layering.

Fish-scalerepeatsofferedaless-expectedskintexturethatcoordinatedperfectlywiththenewcropofAsiandesignsinthemarket.Ramtexusedtheseemergingmid-scalescallopshapesascolorful, allover repeats in hues like blue or hot pink, while Valdese Weavers preferred neturals. De Leos fish scales had a multicolor fill utilizing blues/greens/white, and were woven with lots ofvisualtexture.Circa1801quiltedtheirscallopstogivethemdepthandtexture(quiltingwillbuild for another 12-14 months).

Home Accent Fabrics cobra-skin design Tilapia, from Conceria

A scraped-and-aged appearance at Covington


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As the Asian trend gathers momentum in 2014, expect fish-scale designs to ramp up. They wont have the same impact as big-cat and zebra stripes, or even snakeskin patterns, but they willofferaninterestingalternativetoless-structuredrepeatsallthewaythrough2015.Otherdesign directions at Showtime:

Artistssplattersandrandombrushstrokesamajorincomingstory

Pixelatedpatterns,especiallystripesandzigzags,asatexturalalternativetoikat-

influenced edges

Jacobeanflorals,manyincorporatingpaisleymotifs,continuedtheirascentinboth

printed and woven designs

Damasksstillbuilding(seetheblogpostEverythingOldisNewAgaininthe

Members area online)

Greekkeysinnewapplicationsandabstractinterpretationsongoing

Deco-inspiredgeometricsandleaves

Mountain Chic

The global trend is vitally important to home interiors, even though it is rarely the sole style in a room setting. Thats because pieces in this mode are generally the jewelry in the room. Theyarethesecretsaucethatgivesmanyvignettesauniquepersonality.

Recently,ikatmotifshavebeenthevanguardofglobalstyle.But,attheShowtimetextilesmarket, momentum for ikats continued to slow. This was true, even though ikat influences, like uneven edges, found their way into a new crop of patterns. But the point of view on those patterns was moving away from a Middle-Eastern perspective and toward one closer to home.

The freshest approach to global style integrated those ikat influences into a broader urban-lodge trend. The Trend Curve first wrote about this look as one with incoming mainstream potential a year ago. Now the style is starting to fill out, with debut designs and collection from makers like Covington, Valdese Weavers, Circa 1801, Sunbury, Vision Fabrics and others that go beyond ikats.

Directional patterns leverage First-Nation elements, including Aztec-influenced geometrics, Southwest-inspired color blocks and Navajo-blanket zigzags, diamonds, hooks, steps and squashblossoms.Whileallthesedesigntypesarefamiliar,thebestdebutpatternsdidnotrepeat the same-old color stories and texture treatments of the last lodge trend. Instead, they went in a more-adventuresome direction.

Textile Creations re-colored Indian Sunset, featuring geometric motifs over a ground dominated by bright gradient blues and purples, rather than solid oranges and reds, as in the past. Circa 1801 added spa blues in two values to a neutralized geometric/stripe pattern, sidestepping themore-expectedturquoiseoption.

Valdese Weavers used apple green, yellow and pink with gray and brown, energizing a typical-Southwest stripe. They brought blue and purple together in a bolder, wider stripe filled with stepped triangles. This company also worked with stepped outlines around crosses, tiling them into an allover design and playing with the simple, three-color weave to give them a rhythm they have never had in the past.

For more on the Asian trend, see the blog post Making Asia

Major in the Members area online.

Aqua update at Circa 1801


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Texture also got an update. Home Fabrics thin, interrupted stripe was really a series of long, colorful arrows. Valdese Weavers stripe suggested a rug-inspired twill weave, but it was unexpectedly made of chenille. Another Valdese fabric came with a zigzag design done in cord embroidery for a modern twist.

Vision Fabrics showed what they characterized as a Western Kilim, complete with jagged texture applied to an interesting mix of exotic paisleys and Southwest diamonds in a single pattern. This design, which will be instrumental in walking their customers from yesterdays ikats to tomorrows First-Nation geometrics, was part of Visions new

Southwestern collection, which was inspired by the look and lifestyle of cowboys.

The Trend Curve believes in the potential of a Mountain Chic sensibility in 2014 that will continue into 2015 (we created a trend called Best of The West in The Trend Curve Colors2014, released in 2012). It will go beyond the materials and motifs discussed above to include:

Leather,hair-on-hideandsuedeprinted,fringed,braided,embossed, quiltedandstudded

Beadsdoneinpatternsorasasimulatedtexture

Feathersinprintandpatternorreal

Crossesasgeometrics,ratherthanreligiousicons

Yet,wealsoseethepossibilityofaSouthAmericandetourin2015,influencedbytheupcomingsummerOlympicsinRiodeJaneiro,Brazil.Inadditiontosharedelements,likecopper,snakeskin and textured stripes, think about amping up the energy level by adding:

Undulatingformsand/oredgesthatfeelactive

Vibrantandsaturatedhues

Ariotoftextureanddetail

Rhythmic,almostvibratingrepeats

Tropicalwoods

From toucans to tassels and from tropical flowers to flounces, this trend will grab consumers eyes and hold them. Prepare for Brazilian looks to be the hot accent to ongoing Mountain Chic.

Atlanta RugsThe shift to casual style defined the freshest introductions at theRugMarketinAtlantathisJanuary.Patternstookonamorelooselycomposedstyle,withdesignsthatlookedlessstiffandtraditional, and more hand drawn than ever. Inspiration came from artists and designers outside the rug industry, making for a less-formulaic approach to the surface design of a rug (Emma Gardner at Couristan, Lotta Jansdotter at Surya, Kevin OBrien and Hable Construction at Capel, Barclay Butera at Nourison).

Block prints, artists sketchpads and doodling while talking on the phone all seemed to have an imprint on the casual movement. Somepatternssuggestedthatsomeonehadtakenaquicksketch

Covingtons red/off-white/gray/taupe

geometrics appeared to be printed off-

register, so ragged edges revealed a white ground

around each design element. The result was a rustic, worn

appearance.

Vision Fabrics Western Kilim

Kevin OBrien for Capel


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done as a toss awaythen rescaled and reproduced it to create an entire rug surface design. The directional embrace of imperfection made for a more laid-back series of introductions.

Underthisinfluence,patternsbecamesimplerandcleanerindefinition.Geometric designs were softened and florals took on a fresh-picked-from-the-garden sensibility. From earlier tribal derivations, including Moroccan, the reduction of pattern complexity evolved further. Think of individual Indian-block-print sections, stenciled textiles or wallpaper from the foundingoftheU.S.,orthestudiedplainnessofScandinavianfabrics.

Favoring less-than-perfect pattern emerged in another approach that felt equallyartistic.Theconcept:takeonecompletepatternandlayeranother

over it. Better yet, make sure the base pattern is mostly erased, and then superimpose the new design over it. Show just enough of the previous design to make the mash-up obvious. This look was variously called decomposed design and erased-and-drawn-over pattern. The most erudite description was palimpsest, a term originally referring to Medieval manuscripts that were erased so they could be reused as new documents.

In fact, there was increased interest throughout the show in reusing, repurposing and refurbishing. While the layering concept was new, working with fibers, yarns, textiles and old rugs was less of a surprise. At this show, cotton selvedges called chindi, from Indian textile mills, were used rag-rug style in multi-colored and very-bright designs. Denim scraps and strips were woven into a variety of flat rugs, mixing with roughly processed jute and leather strips.

All elements of leather remained on the edge. While leather strips and patch-worked leather stayed strong, the addition of metallic cowhide in stitched-together collages popped up as new fortheUSmarket.

Metallic was part of a luster trend that continued to build as a counterpoint to wool. Silk came up sparingly, while more-moderately priced alternatives surged. Bamboo, banana silk, rayon (faux silk) and viscose were the go-to fibers for expressing luster.

Also of note in Atlanta:

Oushakweaves,withtheirnaturallyblockyconfigurations,weremodifiedtowork in transitional jute constructions and in saturated palettes at Loloi; super-constructed Oushaks, using fine-yet-nubby background yarns and finished with very low pile height, were directional

Soumakswerefreshenedwithlinengroundsandtonal-chenille accents

Thesari-silkpushfromlastyearleveledoff.Silkbrightsmovedon to mix with non-sari brights and neutrals. Pink stood out as the best carry over.

Outdoorrugshaveblossomedandgonebeyondtheircategory; half of them are sold for interiors, and crisp, clean colors on neutral grounds reflected that use in Atlanta

Advancingjuvenilerugshadatongue-in-cheekwrynessthatbelied humor and sophistication

Diagonalelementsgotmoreattentionviachevrons,flamestitches, diamonds and even hexagons

Decostruced traditional design at Harounian

Recycled selvedges called chindi used as yarn at Couristan


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Heimtextil 2014

Three-dimensionaleffectswereamongthetoptrendsat the Heimtextil trade fair in Frankfurt, Germany. For example, relief and metallic threads showed up in

returning brocades. While traditional, these textiles were surprisingly lightweight, distancing them from the

dense tapestries the textile-industry has known in the past. At one booth, the Italian manufacturer explained that lightweight brocades represent

anefforttoupdatetraditionallookswithamoremodern spirit. And that was a recurring and refreshing refrain.

Onenewtechniquestarringonpillowsfeaturedraisedpatternsshotwithabitofmetallicandtextured with an almost-rubberized hand. Designs from makers like Christian Fischbacher were appliedwithaliquidcolor,heatset,laidwithfoilandheatsetyetagain.

At the Finnish firm Into, woven textiles used layering to achieve complexity and dimension. For example, some achingly soft wools had build-ups of yarn, piled up like spaghetti, or a delicate sheer was made up of a single-yarn warp and a multiple-strand weft, and then crossed with wide-wovenstripespuffsofgoldenorganzaalternatingwithchunkieryellowknitting.

Velvets came with a tricked-out sensibility. This updated look and feel was achieved through wornsurfacesthatreadlikeroughed-uppann(playingupmatte/shinecontrast)toquilted,tufted and popcorn looks that recalled some of the stretchy textures used by trendsetting European upholsterers.

Complex sheers stole the show, with textures like crinkling or puckering; patterns, like large-scale florals or crosshatched geometric embroideries in retro designs. And nettingfrom wide-gridfishnetstomosquitogauzestoknittedtullesseemedfresh.Thiswasparticularlytruewhen they were woven with metallic threads for a surprisingly glam look, or embellished with dots that looked like modern crewel.

Reallynewwereintriguinggridsthat resembled passementerie: lush fringes or woven tapes, designed to add texture to peekaboo draperies.

Towels also participated in the dimensional trend. Makers featured lush weaves, like herringbones, stripes, checkerboards, florals, dots, some with 3-D embellishments. Mve, for example, showed a singlesequinpaisley.Othertowel companies eschewed motifs in favor of textural tufts, reminiscent of chenille blankets.

High relief in raised pattern, foiling and heat-setting: Christian Fischbacher

Complex dimension from Into


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In wallcoverings, a standout collection from Arte was based on the ideas and polychrome architecture of Le Corbusier. The highly tactile group included Dots (ink with relief and high gloss finish), especiallyfetchinginlime;Squares(inspiredbythearchitectsfenestration), thermoformed for high relief and stunning in cobalt; and Pavilion (a primitive pattern that resembles croc).

Feathers, beading and woven-wood veneers were eye candy at the TaiwanesecompanyATTRotex.Sowererecycledbluejeansthattook to the walls, as they already have in upholstery, adding depth and texture in this more-recent application. Other dimensional looks read like beefed up shagreen in silvery shades, while python patternsofferedaflatalternative.

Finishes for the wall included slick patent-leather looks in brilliant hues. Foil-embellishments intrigued when contrasting textures, perhaps a Kraft-like paper, were glammed up with metallic flecks. Another look with a twist: pixilated designs in gold relief. In fact, metallics, however expressed, often teamed with more rustic materials for contrast. Similarly, contrasts between matte and

luster were played up. For example, two-sided pillows at Christian Fishbacher came with one side made of matte flannel, and the other glazed linen.

Buzz about digital printing dominated the fair, as did digital-technology companies, like Hewlett-Packard. Topics for photorealistic imagery ran the gamut, from urban street scenes to beach-themed pebbles, rippling water and mega-scale tropical foliage. In some directional instances, designs intentionally lost focus.

But this technology was really at its best at the hand of artists. For example, one Finnish artist at Studio Kelkka began with a drippy painting. She used scanning to scale and play with the images, which were finally digitally printed. Plage, a company from France, showed offlifelikegardenscenes,aswellasbigblooms,that

were hand drawn, then digitally printed. Also of note at Heimtextil:

Studio Lines Opulent collection shows rich relief

Is it cross-stitch or batik? Its a little of both at Esprit Digitally printed starfish from Pichler

Asianstylesembracedanewmodernity,withblown-up toiles in bright pastels (Enchantment, from Thibaut), dragon motifs in allover patterns (at the Spanish company Vilber) and single, flat images (in red-on-white at Telas de Lona)

HintsofSouthweststyleemergedincharacteristicgeometric patterns, stylized feathers and Santa Fe colors Printedcrossstitch,oftencombinedwithotherpatterns,some with a pixilated look

Mega-scalehounds-toothchecks,somedepartingfromtypical black-and-white combinations.


Michelle Lamb is the founder and chairman of Marketing Directions, Inc., publishers of The Trend Curve and numerous special reports covering major markets.

Marketing Directions, Inc. informs national and international manufacturers and retailers on industry trends.

The Trend Curve is published by Marketing Directions, Inc. six times yearly with information from major markets and trade shows important to the home furnishings industry. A Digital subscription is available at $199.00 per year, $369.00 for two years. Back issues ($30 each) and custom publications are available.

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Marketing Directions, Inc. PO Box 44475 Eden Prairie, MN 55344 USA

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

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

The Trend Curve - ISSN#1080-1324

Michelle Lamb Editorial Director

Editorial Correspondents:

For Atlanta Rugs: Arthur Douglas Thayer

For Heimtextil: Elaine Markoutsas

While every effort has been made to provide accurate information, Marketing Directions, Inc. cannot be held accountable for any error or omission and there is no warranty or representation, express or implied, that the information provided in this publication is definitive. Marketing Directions, Inc. is not responsible for any costs, expenses or damages, actual or consequential, resulting from the use of this information.

the last wordAs most of our readers know, I have been in the home furnishings industry for many years.WorkingforTarget,Room&BoardandRubbermaidbeforeco-foundingMarketingDirections (parent company of The Trend Curve) gave me many opportunities to attend markets and work with product-development teams as a buyer, trend merchant, merchandise manager and national accounts manager.

Thats how I know firsthand that home-dcor product development has embraced myriad influences over the years. And thats why I felt so bemused at Showtime, when many companies told me that their sole source of inspiration was the runway. It seemed clear, judging from the amount of repetition from one line to another, that the same apparel collections were behind a number of debut textile patterns. Perhaps people were simplifying when it came to naming their resourcesbut perhaps not.

I have heard the runway credited for a new color, finish or material too many times in the past six monthsand not just from textiles designers, but also from those in every category. It seems as though apparel has not only become the best source of home-dcor product development inspiration, but lately, the only one.

I cannot help but think about the impact that worldaffairs,archeology,architectureandartexhibits have had on collections of the pastfor example, Egyptian excavations in the 1920s orthemajorexhibitofGeorgiaOKeeffesworkin the mid-1980s. If these kinds of events are not also coming into play, the market is missing some profound opportunitiesnot only for design,butalsoforproductdifferentiation.

It is easy to get caught up in the everyday rhythm of meetings and projects, and the

chaos of trade fairs and previews. Breaking out of that cycle, even if just long enough to take in a museum or stroll through a local art fair, will feed your creativity in amazing ways! I encourage everyone to plan a field trip at least onceeachquarter.Needafewideas?

Sial, Paris, the worlds largest food innovation marketplace at Parc des Expositions de Paris-Nord Villepinte (same venue as Maison & Objet) 10/19 10/23/14. The next big food trend could drive new prep items in kitchen assortments, the shape of tableware or motifs in surface designs. Closer to home, the Fancy Food Show takes place in NYC6/297/1/14.

Vikings: Life and Legend is on tap at the British Museum (3/6/14 6/22/14). The rising interest in Scandinavian trends may be fueled by this show.

Theadvanceofsuper-heroesindcorthatbegan in 2013 will certainly continue into 2014 and beyond (see our Comic Art trend in The Trend Curve Colors 2015). Comic-Con International,heldinSanDiegofrom7/24-7/27,isahottickettoget,butagreatsourceofinspiration and amazement.

Sochi 2014 may not be on your travel list, but you can watch the games online and think about the host country and its history. Todays emergingbrocadesofferjustoneconnectiontotheelaborateelementsofmonarchistRussia.

This is just the tip of the iceberg. Shopping in a trendy area, heading to a ski slope or tracking new technologies can all inspire palettes and patterns.

There is nothing wrong with paying attention toappareltrends.Buttodifferentiateyourassortment, its time to look beyond the runway, too.

School children on a field trip to the

MosqueCathedral of Crdoba, a medieval Islamic mosque that was converted into a Catholic Christian

cathedral in the Spanish city of Cr-

doba, Andalusia. The mosque is regarded

as the one of the most accomplished monu-

ments of Moorish architecture.

the trend curve™ - february 2014 - sample issue

Documents

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pink color family

color copying

coral pink

warm greens

pixel pink