™
thetrendcurve Pales with Panache
Purple shifted lighter and Bluer at Compagnie des Etoffes Paris
I
to m o r row ’s t re n d s to d ay
t is generally the case that when a color or color
family becomes so prevalent at a trade fair there
seems little room left for growth, that hue will be even
more ubiquitous the next time around. That was exactly
the case for Purple at Maison & Objet in Paris. Still, this
color family, which has now reached its peak, was not
standing still.
Purples had already begun evolving from Red-cast to
Blue-cast hues, and in Paris that shift was well on its
way. And they had previously opened the door to very
dark values that were easy to see this time. But the real
news came from emerging clean pastel values, and
from dirty mid-tones with chameleon personalities that
allowed them to work as either a Purple or a Brown.
Browns themselves were also on the move. Most
important were Yellow-based hues that were often
called Camel, even when pushed by many makers
to darker values than Camel normally permits.
2.10 THE INTERNATIONAL AUTHORITY ON TREND FORECASTING FOR HOME FURNISHINGS
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TTC_Feb10.indd 1
Additionally, Browns that could answer to the name
Cocoa were incoming. They looked especially good with
a number of Rose and Mauve types of similar mid-tone
value that were coming on strong. Rose or Mauve will be
quite salable alone (both will help lay a foundation for a
Vintage trend), but looked good combined with Cocoa
and a hint of White.
These were not the only Pinks of note, just those with
the most forward potential. Yet it would be wrong to
overlook a clean, pastel Pink that was quietly gaining
(along with all pale values), and the Fuchsias that
grabbed the eye for the second show in a row.
While Orange held its mainstream status and lipstick
Red backed off, Oxblood kept this family interesting.
Sometimes its warmth mediated enough for the hue to
turn to Burgundy. When that happened, the deep Berry
colors that have been important in the past looked old
in comparison.
2/1/10 5:04 PM

Tondelli’s Red-cast
Navy velvet
Blues generated much excitement. Established
warm personalities played a key role as foil to new
Red-cast pales and brights. Navy continued a slow
progression. Meanwhile, Denim-inspired colors
grew more broadly, taking on Red casts in some
situations and going warmer in others, evoking
a dirty Denim look filled with lots of complexity,
sophistication and appeal.
Peacock was one of the fair’s go-to hues, but its
impact seemed more consequential for Greens
than Blues. That’s because of the emerging
presence of Evergreen, which felt like an evolution
of Peacock to a darker and Greener personality,
and the continued incoming presence of Teal within
the palette. (Use Evergreen to keep deep palettes
from looking too retro.)
Although Greens were not top trend colors, a few
Rose was new in rug other hues in this section of the color wheel also held
colors from Stepevi promise. Spearmint, with just a hint of Yellow, was
™
thetrendcurve
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TTC_Feb10.indd 2
one of them. Olive was another. It had picked up a bit
since the last Paris show. On the neutral front:
• Grays warmed up to Putty and Taupe to stay fresh
• Blue-Grays and Purple Grays were also on hand
• Black was used as a foundation or accent more
than a stand-alone option
• White backed off, except for furniture, where
White finishes (not washes) were directional
Cords & Straps
O ne new ingredient in design stood out from
all the rest at Maison & Objet: straps and
cords. Evoking looks that ranged from moving-van
chic to countercultural, these new elements proved
themselves to be both interesting to look at and
capable of holding their own in the realm of décor.
Eno Edition Nouveaux Objets was one of several
companies exploring the potential of bungee
cords. Short lengths of the stretchy cord became
colorful handles when passed through the walls
of a clear-glass bowl and knotted on the inside. A
small, medium-finished wood cabinet created by 5
Designers relied on a series of Green bungee cords
across the front that stood out while standing in for
a door.
Maire-Aurore Striker-Metral wove twill-tape straps
over and under across three long, upholstered
strips, connecting them into a single chair and
back. Missoni braided cord of various pastel and
mid-tone hues together to create multi-colored
seats, backs and tabletops for outdoor furniture.
Adding to their panache, the colors were arranged
in stripe or plaid patterns.
Leather cords, grouped in two’s or three’s, took
a high-end position at Roche Bobois. They
were woven into an airy-yet-stable plaid for
contemporary, wood-frame chair backs and a
headboard. Philippe Hurel’s leather-cord design
was a simpler grid for chairs and ottomans.
Désio’s bulkier take on leather cord looked less
structured. It was wrapped twice around a sofa
slipcover to keep it in place. Objecto’s one vertical
and two horizontal Black leather straps crossed into
the back of a circular-metal-frame chair. Only the
chains were missing for a complete bondage look.
Metal mesh can have a similar aesthetic. It, too, was
used in strips, crossed with solid metal ones to form
a tactile plaid chair seat at Now’s Home.
Notes about other materials in Paris:
2/1/10 5:04 PM

• Pleating, tucks, heat treatments were key
fabric textures
• Colored-transparent glass was growing
• Makers added pearl, iridescent or frosted
effects to take the trend further
• Tiny plastic beads updated wall coverings
• Ceramic was increasingly scratched, etched,
crushed or otherwise textured
• Wood looked great when unfinished, but
trend-right painted White
L: Eno Edition Nouveaux Objets
them a digital look. That was the case in Skorpios,
used bungee cords as handles
by Bernardaud’s. This dinnerware pattern featured
allover pixilated scrollwork in textural relief to R: New leather-cord chair back
update to a classic design. Another take on pixilation and headboard from Roche Bobois
came from Gaia & Gino’s optical-glass Gino dog
figures and Matrix vases, both made of clear/
transparent colored glass blocks and rectangles.
The fabric on Valentina Giovando’s Vintage
settee was blown up and blurry, yet not pixilated.
Bernardaud’s limited-edition plates are also
blurred, but for a different reason. Rather than being
blown-up pictures, each of the 6 different plate
designs is a unique freeze-frame taken from a video.

Going Digital Nio-Carlo Rampazzi & Sergio Villa collaborated to

A
bring a work of wall art into a tabletop via digital
budding trend from the last Maison & Objet fair photography set between a steel slab and Plexiglas.
revolved around playing with portraiture. Four The goal was to create an experience in which users
months later, the trend was still in the early stages feel as though they have entered the picture when
of development, as evidenced by makers like Kuhn seated at the table. Bouquet from Missoni Home
Keramic, where Renaissance portraits became the
subjects of plates and serving pieces. These images
were adapted to line-art style, retextured with
finger-painting strokes, modified with the addition
of birds/plants/squirrels/crosses or turned into a
one-color study.
At the same time, the market was experimenting
with photographic representations. In some designs,
patterns were made to look pixilated, as though a
digital picture had been enlarged far beyond the
range of the data in the file, resulting in a blurry
mass of colored boxes and rectangles. Chevalier
Edition’s area rug in shades of Brown was one of the
best examples of this trend. Missoni’s floral fabrics,
featuring the same image in sharp focus, as well as
blown up and pixilated, offered a new approach to
pattern coordination.
In other instances, well-known designs were
created with a series of tiny dots or boxes to give

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 Photography became more
realistic when it took on
eco-associations in the
Trend Exhibit. Here over-
scaled chairs with backs
shaped like mountains
were covered with fabric
printed with a forested
mountain photo. At
Pomax, a vintage Black-
and-White photo of a
young Victorian era girl
was framed with a Rose-
and-Amethyst floral print.
FS Home Collection’s pillows
came in a Gray-scale print of
several bulldogs (incoming), each
featured on its own pillow.
the Blue of note, yet others in this family had to be
acknowledged for their fashion-forward status,
especially Denim and Navy.
Patterns had panache at Heimtextil. Lace effects
led the way in a number of categories. Panels
from Christian Fischbacher, for example, featured
a Purple-on-White, paisley-inspired print with
the aesthetic of classic lace. And a crochet-lace
lampshade evoked a traditional response. But
bedding opened the door to a modern point of view
that made lace feel quite up-to-date.
This was achieved by printing floral lace designs
and bold patterns like stripes and plaids in a single
pattern. In some cases, patterns alternated. This was
the approach in Esprit’s bedding, where printed lace
sat side-by-side with plaids in two scales for youthful
appeal. In another collection, a lace-flower design

Some of the other pattern trends in Paris:

• Flowers were unrivaled for popularity, with
Le Promeneur from folkloric being newest
Bernardaud is a freeze-frame
image from video
• Architectural elements advanced in surface
design
• Paisleys were blown up, shown in patchwoks,
dabbed-on in pattern and adapted to ikat-style
for newness
• Ikat and kilim looks continued to emerge
• Lace was incoming as a surface design
• Plaids picked up
• Thin was still directional for stripes

From the Shadows on the Heimtextil 2010

Wall collection at BN
Wallcoverings D espite snow and economic pressures, Messe
Frankfurt was buzzing with excitement during
Heimtextil. This trade fair, which is Glamour from Esprit mixes lace and plaids
the world’s largest for home textiles,
seemed to answer the market’s need
was printed over bold stripes. Some lace blossoms
for inspiration with which to heal the
turned from positive to negative as they crossed the
burdens of recent economic woes. It
boundary from one stripe to another. This made the
did so with color.
™

thetrendcurve

pattern feel unpredictable and original.

Purple continued to lead in
Alone, stripes had much to say. Whether thick and
personalities ranging from soft
bold or thin and diminutive, stripes created rhythmic
to vibrant. Red casts, though still
designs that were perfect vehicles for a multi-color
present, began deferring to the
approach. A few diagonals were fun companions
influence of Blue for newness.
to regimented stripes. Curved lines and zigzags
Meanwhile, Orange took center
also had modest exposure. But patterns filled with
stage, but never alone. Teaming with
a number of small-scale, allover geometrics felt
Greens, soft Purple or Stone-like
newest. That’s because widths of gingham, hounds-
neutrals took Orange to a fresher,
tooth, dot or semi-circular repeats created their own
nature-inspired look that made
sea of texture to enhance the stripped landscape.
retro combinations like Orange/
Pink appear dated. Peacock was Floral designs got an update from tropical

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TTC_Feb10.indd 4 2/1/10 5:04 PM

 sensibilities, while Jacobean-inspired motifs
continued with hints of Indonesian-batik design.
Still in the earliest emerging stages, watch for tribal
island looks to build in the next 18 – 24 months.
Also of note:
• Realistic nature photography and pixilated
imagery enhanced wall coverings and textiles
• Geometric cut-outs joined lace in the embrace
of overlay techniques
• Paisleys got more attention; they were mini or
oversized
• Pebble motifs connected with eco trends
• Mixed textiles and textures, not bling, gave
bedding a sense of luxury

Textural Rugs
T exture on all levels remained critical and
became more pervasive at the Atlanta Rug
Market. It was expressed as high/low sculpted
effects, pile contrasting with loop, and layers of pile
in one piece. Additionally, there was an increased
emphasis on mixing not only different fibers,
but also various twist levels of yarn with distinct
refractive qualities for more complex textures
than just matte/luster. Absent or skipped-weave
techniques created openness and supple draping to
rug construction in Belgian rugs at Momeni.
Texture trumped all in increasingly popular single-
color rugs. Most consisted of one line of knotted
wool—usually even and plush—followed by a line
of linen, nettle, sisal, hemp or even rayon, usually
looped or otherwise a counter texture to the wool.
This approach was most obvious in contemporary
designs, as well as in solid-color plains. Notable
introductions came from Safavieh and Tamarian.
Washed, double-washed and even quadruple-
washed rugs produced tactile softness, scaled-
back hues and patterns bordering on ghostly, with
mirage-like shimmering color fields. Visual texture
played a part via increasingly important aged, faded
and antiqued vintage surfaces.
Meanwhile, hand-manipulated techniques, such as
needlepoint, petit point, and gros point, did not back
off. Instead, they drifted toward finer constructions
in a nod to traditional-textile techniques. But the
trajectory of the patterns themselves was not
traditional. Designs were modified and modernized
to sit on the edge of contemporary, especially when
up-to-date colorations were involved.
The movement toward ecologically responsibility
was ever stronger in Atlanta, and this too had
implications for texture. Plant fibers, especially in the Aboriginal design from Amici
bast category (sisal, hemp, linen, even aloe) proved
to be popular and growing. To make them more
livable, they were loosing their firmer rough hand
and, through processing, began to achieve a more
supple, pliable and soft hand in pile constructions.
When it came to pattern, stripes took on a new
significance, especially when packed with patterns
and motifs. Momeni’s Fair Isle, a clever take on
Irish cable-knit sweaters, suggested just one way
to update stripes. Another approach came from
rug scraps pieced together into a rag-rug look. The
minor addition of baseball stitching to this centuries-
old method of repurposing materials resulted in a
counterculture twist with high appeal.
Classic tribal designs, however, were an
unstoppable force.  Patterns grew larger, more The shag, which did not let
geometric and simpler than in the past—features
up as a major retro-style
that are set to remain for several years. Zollanvari’s
gabbah-inspired cocoa piece was directional for its category, also reinforced
natural-colored, simple tribal designs using blocks,
a textural direction for
squares and simple borders, all woven into a shaggy,
almost feathery wool pile. solids. Some shags took
While kilims renewed themselves as a contemporary that mission to an extreme
vehicle for simplified and over-scaled linear patterns
(stripes, checks and plaids, often in a two-color as huge, felted-wool yarns
application), graphic interpretations of designs from
were placed next to tiny,
outside the usual Middle-Eastern sources emerged.
Watch for a major increase in 2011-2012: lustrous polyester ones.
• Ikats expanded and developed, morphing from
classic flat woven to pile
• Pacific Rim patterns like plangi and tie-dye from
India and Japan, were inspirational

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TTC_Feb10.indd 5 2/1/10 5:04 PM


Momeni’s new stripe
Carol Bolton for Kalaty
L: Taji from Victor Group blended
tribal and textural elements
R: Velvet and silk with a
Vintage flavor: Nipkow & Kobelt
™
thetrendcurve
6
TTC_Feb10.indd 6
• African design,
including very tribal in
motifs done in earth
colors, was notable
in David Easton’s
African collection at
Safavieh
• Stepping outside
the pack, Amici’s
aboriginal designs
offered a modern
take on traditional
Australian
aboriginal
paintings,
tweaking
designs with
true native
color palettes
• As a niche
item, but
indicative of a
move to renewed
interest in American Southwest, Tahoe
Rug Studio showed Navajo rugs that were not done
in the traditional flat constructions
• Kurdish, Kazak, Russian, Afghan, even African
Ashanti tribal designs, all with their slightly masculine
and geometric bent, are getting ready to explode.
Showtime
T
he Showtime textiles market made it
abundantly clear that the adjective “plain”
is completely inappropriate for fashion-forward
fabrics. That’s because texture was still king. Ways
to achieve it were more diverse than ever, and it was
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not unusual to see companies call on many types in
a single fabric as combining textures continued to
be directional.
Tiny basket weaves, diminutive chevrons,
combinations of coarse and fine yarns, and
infusions of plush and various novelty elements
all contributed to a complex approach that is fast
becoming the norm. Even luxe was being redefined
via texture. Valdese Weavers, for example, said flat
and shiny characteristics are too garish, old school
and dressy. Hammering and low luster make a more
sophisticated point. At Home Fabrics, strié warps
took plains up a notch.
Heathered/marled/strié/hombre effects kept color
from looking too bold and neutrals from seeming
too ordinary. So did the myriad ikat looks that were
being applied to lots of patterns and motifs. Worn or
antiqued surfaces were also building.
When it came to fabric types, bouclés were the
subject of much attention. But rather than fading
away, chenille is morphing into a staple with high/
low, bulky/fine or novelty-yarn textures that can
make it quite dressy.
Credit the extreme texture trend for a new
requirement that velvet come with something
more to make it special. Cut looks and low luster
do the trick for now. Going forward, watch for more
dimensional aspects like crushing and slubs. Along
with embossing, dull antique looks, embroidery,
braid and metallic-thread, these features herald an
incoming Vintage trend that some will call Victorian.
Silk and matelassé fit equally well in the Vintage
mode. Matelassé is already rising, and will continue
to do so for at least 24 more months. Also of note: a
return to washed looks driven by a growing interest
in slipcovers.
Linen is still driving big sales. That said, the next two
years will see fewer glazes and metallics. Now that the
2/1/10 5:04 PM
 market has discovered bulky, produce-sack weaves,
dry and even worn are directional for linen. The pace
at which this nubby, countrified fabric has moved from
exclusive levels toward the mainstream confirms an
interest in a different take on relaxed looks.

100% Design Tokyo

1 00% Design Tokyo is one of the most
interesting shows of the year. Held during
Tokyo Design Week, it is a showcase for cutting-
edge Japanese and international designs. This
year, three themes stood out.
Green Living was at the forefront of this event.
Creating products using eco-friendly materials
got lots of attention. So did making environmental
statements via design. One of the best messages
came from a chair designed by Ken Kimizuka for
Tonerico. This linear piece was primarily clear, but
had a few inches of wood on the far-left portion
of the seat and back. Displayed with this chair
were statistics about the maintenance rate of
forests throughout the world, suggesting the chair
symbolized the disappearance of forests.
Throughout the show, products designed to
integrate foliate into décor kept popping up. Living
walls, the vertical gardens that emerged just
over a year ago, were still very much in evidence
(the newest twist: combining types and colors of
plants to create pattern). But there were plenty of Pole Planter from
other ways to artfully position nature within décor figure-eight designs cut with one side smaller than Time & Style Factory
without resorting to a basic pot. Standing displays the other. The smaller opening was sliced through,
elevated plants within settings—both literally and allowing the stem of a wine glass to be inserted
figuratively—by bringing nature up to seated eye so the glass is upside-down. The other side slips
level. Time & Style Factory’s Pole Planter and Ren’s over the top of the wine bottle. Four glasses can be
cylinder both stand about 18-inches tall. The Pole carried with this clever solution.
Functional felt shown at Furnish
Planter is meant to be covered all over with foliage,
One company took this trend to an extreme by
while Ren’s model can be filled with soil with a plant
transforming a mid-century molded chair into a
at the top.
table base. Most of the chair sat underneath the flat
Mundane Mastery used everyday items to create top, but a few inches of the back passed through it,
something truly unexpected. Small felt orbs lined up interrrupting the tabletop to offer an abstract take
and fit together in concentric rings to make a tripod- on dining.
base accent table, while ping-pong balls were held
A New Twist meant adding features to an item from
in the shape of a chair by a transparent plastic cover.
the past that made it more compelling. Case in point:
Clear-plastic spoons hung by their handles in tiered
the clock. Rojak’s dominant use of clear materials
circles to create a light fixture and D-shaped handles
for a hands-only wall clock was a play on the fact
became both decorative and delightfully functional
that clocks keep disappearing from décor as digital
when they repeated all the way around a pan.
versions are increasingly integrated into electronics.
Furnish solved the problem of how to carry a bottle Embedding light into the hour, minute and second
of wine and some glasses with one hand using hands created a light show with both functional and
nothing more than a simple piece of felt: Modified decorative appeal.

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TTC_Feb10.indd 7 2/1/10 5:04 PM


Rojak’s eye-catching clock
At Yoshifumi Sasamoto Design, plates have a
square eating surface, but that square is not quite
centered within a body featuring asymmetrically
designed outer rim. Pile several of these plates
together and the stack begins to twist into an
interesting textural form that deserves to live
outside a cupboard.
the last word
T
he Trend Curve has received many subscriber-
family requests for an autumn color-and-trend
forecast over the past two years. As the team
began to research the potential for creating one, we
learned that we had been mistaken in overlooking
this important season and its crown jewel:
Halloween. This months-long timeframe, which is
sometimes called Falloween, generates over $6
billion in sales and is second only to Christmas in its
earning potential.
That was enough to get our attention.
We got busy creating a new tool for our customers
called Haute Halloween and Fall™ 2011. It includes
9 trends and 30 colors, neutrals and metallics
that work from late summer all the way through
Thanksgiving (when winter and Christmas become
the focus). They can be used for both Halloween and
fall, as well as for either of them, separately.
We’re all about trends at The Trend Curve, so each of
the themes in Haute Halloween is crafted to blend
with everyday décor. And, as we are also all about
color, each of the palettes does the same.
I was fortunate to have a member on my team
who is a Halloween expert of sorts, having written
several novels and articles on the subject for New
York publishing houses. She pointed out that this
ancient holiday, which originated in Ireland over
2,500 years ago to mark the Celtic New Year, was
brought to America during the mid-1800’s with the
immigration caused by the Irish potato famine. It
was thereby united with the pumpkin-growing turf
of New England. This bit of historical trivia reminded
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TTC_Feb10.indd 8
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.
Plates get a new twist
from Yoshifumi Sasamoto Design 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.
Subscription is available at $199.00
per year when delivered within the
me that Halloween has reached across thousands U.S., $269.00 for all other countries.
of years and miles to win the hearts of both North Back issues ($30 each) and custom
American kids and adults (over 50% of Halloween publications are available.
costumes sold are for adults).  
Marketing Directions, Inc.
Halloween is just plain fun! In addition to the billions 14850 Scenic Heights Road
Suite 155
of dollars spent each year on Halloween candy,
Eden Prairie, MN 55344 USA
costumes and greeting cards, the increase in
autumn entertaining has carried Falloween décor (952) 893-1245
into almost every room in the house. Once reserved or call toll-free (800) 531-6614
Fax (952) 893-1264
for outdoor displays and party rooms, Halloween-
themes can now be seen in living rooms, dining
E-mail: info@trendcurve.com
rooms, kitchens, baths and even the accessories for http://www.trendcurve.com
our pets. 
The Trend Curve - ISSN#1080-1324
But Falloween’s growth has clearly not been
matched by newness, especially in décor and Michelle Lamb
packaging. While the movie, TV, and political Editorial Director
worlds fuel new costume ideas every year,
customers seeking more from décor than candy Editorial Correspondents:
corn, scarecrows, witches or ghosts are usually For HEIMTEXTIL: Jane Stockel
disappointed at point of purchase. The Trend Curve For Atlanta Rugs: Arthur Douglas
can help you to change that. We believe that the Thayer
innovative trends and colors in Haute Halloween &
Fall ™ for 2011 will ensure that your collections will While every effort has been made
catch consumers’ eyes with their forward views and to provide accurate information,
Marketing Directions, Inc. cannot
classy new spins for everything from flatware and
be held accountable for any error or
textiles to decorative accessories and lighting.
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
To learn more about Haute Halloween and Fall 2011, for any costs, expenses or damages,
visit www.trendcurve.com and go to the Trend Store actual or consequential, resulting
pull-down menu and choose Color Forecasts. from the use of this information.
2/1/10 5:04 PM