New Tapestry Era
With every change in the fashion world, and likewise in décor, the next movement seems to come exactly in the opposite direction.
Fine points for squares, high waists for low waists, from quiet luxury to logomania, in décor we leave a neutral minimalism, when the topic is fabric, for many prints.
We're not talking about maximalism, or mix and match, but interiors that in their essence, have something to tell.
We see tapestries around walls in the art world, by the way we already recommended the individual by Sheila Hicks here. Jacquards reappear every day in upholstery. And for some's surprise, with attentive eyes, sofas abandon the function of neutral background and pass to carry flowers, landscapes and almost pictorial drawings. Fabrics leave again to be the background base to become part of the architecture of the environment in the furniture of greater prominence.
In the field of behavior, the more digital our life becomes, the greater seems to be the desire for everything that has the art of hands and time. No example translates better this moment than Pierre Augustin Rose.
Known for sculptural forms and extremely contemporary of his furniture, reinterpreted with fragments of old Aubusson tapestries from the 18th century. Landscapes and foliage that now take over curved sofas and almost modernist armchairs.
Something old, something new: our interest is precisely in the contrast.
It's also here that the new Alençon comes in, from Pierre Frey, whom we're fans of when it comes to fabric.
Inspired by traditional French verdures, tapestries of vegetation that lined interiors in the 17th and 18th centuries, the design gains an expanded scale and textured warp threads, but appears in a Jacquard developed to function even in external areas.
After years trying to make all the elements of a house combine in a harmonious way, the new idea of curation seems to bring back the past, it doesn't need to match, but it comes surprising well, with its nostalgia back.
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