32 Spectacular Fabrics and Trims Coming to Market This Year- AD- Nisha Designs

From tapestries to cut velvet and shimmery upholstery, here are the fabric and trim trends that will rule 2023

By Stephanie Sporn

Tired of seeing yet another bouclé-covered sofa? Us too. This year promises a new wave of ideas for fabrics and trims, as seen at Paris Déco Off in January and recent collection previews. Textures have evolved from the nubby options of yesteryear to sleek-piled velvets and woven tapestries. Plus, what’s old is new again as pattern inspirations pull largely from fabric house archives. When it comes to color, bold, full-bodied jewel tones continue to reign, though experimentation with monotonal fabrics and trims make way for inspiring neutrals that are anything but one note. Here are the textiles you’re about to see everywhere in 2023.

Making the Cut

In a departure from the full-scale velvets of years past, this season is all about cut velvet. These touchable textile debuts are at once funky, sinuous, and eye-catching—and in every colorway imaginable. We say pile them on!

Tiger Beat in Fauve by Dedar
Niki in Bleu Misia by Misia
Olivetti in Vino by S. Harris
Pelangi Velvet in F774502 by Osborne amp Little

Peacock Blue Is the New Neutral

From ruby red and regal plum to refreshing peacock blue, jewel tones prevail in 2023’s collections of fabrics and trims. That avian blue—envisioned in a variety of fabrics and patterns this season—is as entrancing as it is versatile. With appealing options like these, there’s nothing wrong with a little peacocking.

House of Cards in Sapphire by Donghia
Puebla in 67 by Élitis
English Riding Velvet in Lovat by Ralph Lauren Home
Cala Ferrera in Azul by Gastón y Daniela

Fresh Takes on Tapestry

Flora and fauna grow rampantly in the latest fabric trend of reviving tapestry and crewelwork from centuries past. Though some brands have opted for more literal interpretations of Flemish verdure tapestry, others have whimsically reimagined woodland scenes and the creatures that inhabit them. As heritage houses comb through their archives, many have chosen to reinterpret historical fabrics. William Morris, for example, created the Bird pattern in 1878 to adorn his drawing room walls at Kelmscott House, and this season Morris & Co. has reproduced the fabric with the original hand-driven jacquard loom production quality. 

Meanwhile, French heritage label Braquenié, which Pierre Frey acquired in 1991, celebrates its 200th anniversary with the Anniversaire 1823–2023 collection, featuring more than 50 fabrics, 30 wallpapers, and 10 rugs that draw on the textile maison’s archival documents, as well as those in the heritage collections of the Château de Versailles, the Musée des Arts Décoratifs in Paris, and the Musée de la Toile de Jouy. Featuring several fabrics directly inspired by tapestry, cross-stitching, and other highly textural woven techniques, the collection launched during Paris Déco Off and made for one of the week’s most memorable events: At Château de Louye, a privately owned castle in Normandy, Braquenié fabrics dressed nearly every interior in marvelously patterned layers for a sumptuous display of French heritage, expertly blending the old and the new. 

a tableau of fabrics and trims including a blanket and pillows on a sofa
Tibere in Printanier by Braqueni
Greta in Bluebell by Pollack
Bosquet in 1097275 by Nobilis
Forest of Dean in BrightMulti by Sanderson
Bird Tapestry in Tump Green by Morris amp Co
MariePaule in Vignes by Braqueni

All That Glitters

Metallic threadwork and cording played a standout role in nearly every collection this season, adding luster to scenes under the sea or inside the forest. And for the more modern-minded, abstract patterns have also been making a splash across showrooms. One thing is certain: In 2023, designers are ready to show up for shimmer.

Acanthus in Forest by The Vale London
Formation in Oyster by Harlequin
Antigua in 893 by Travers
Prima Alpaca Boucl in Domus Ebony by Sandra Jordan

Wanderlusting Prints

Toile de Jouy prints and painterly scenics take on new narratives, transporting viewers to lands near and far—whether it’s Nantucket, Lake Como, or a tropical locale.

Zuma in Multi by Meredith Ellis Textiles
Villa Como in F777301 by Osborne amp Little
Valensole Print in LeafRose by Brunschwig amp Fils
Scenic Nantucket in White on Weathered Red by Gary McBournie Home

White on White

The resurgence of monochrome interiors have textile makers toying with new ways to add texture and depth to minimalist palettes. That can mean anything from employing chic tone-on-tone embroideries and fringe-inducing fil coupé techniques to experimentations with weight and sheerness. 

Ketaki in 101 by Sahco
Tanabe in White by Larsen
Calicanto in Impression Sous la Neige by Dedar

Playful Passementerie

Maximalism and historic details continue to dazzle new audiences this year, making it passementerie’s time to shine. In addition to Clarence House’s launch of more than 200 solid-color trimmings—designed to effortlessly complement residential interiors—ombré tassels and ornate Art Deco fringe topped our list of must-sees. Mark these down.

Zelda Beaded Fringe in Sycomore by Houlès
Kaleidoscope Trimmings in assorted varieties by Clarence House
Filippo in Neutro by S. Harris
Clery in Terracotta by Manuel Canovas
Bloom Key Tassel in 34 Spruce by Lori Weitzner for Samuel amp Sons
Outdoor Boullion Fringe in Green by Schumacher

Source: https://www.architecturaldigest.com/story/7-fabric-trends-that-will-rule-interiors-in-2023

From Ancient Egypt to Teotihuacán, Centuries-Old Palettes Illuminate the Role of the Painter- Hyperallergic- Nisha Designs

“Paint Box” (1302–1070 BCE), Egyptian, ceramic and pigment cakes, 2 5/16 x 8 11/16 x 2 3/16 inches, RISD Museum (courtesy RISD Museum)

Despite all of the ancient painted objects in our museums, it’s rare to see an actual paint set.

For all the paint fragments found throughout the ancient world, on murals, pottery, sculpture, and scrolls, surprisingly few ancient paint palettes have been uncovered. Ancient palettes in the collections of the Metropolitan Museum of Art in New York, the British Museum in London, and the Louvre in Paris — among other institutions — number in the single digits. This is even more surprising now that scholars know ancient Greek and Roman statues were vibrantly painted. 

The palettes we do have, many of which still contain traces of original pigment, show us how people painted, but they also tell us about the role of the painter in ancient civilizations.

“Scribe’s Palette” (ca. 2030-1550 BCE), Egyptian, wood and pigment, 13 5/8 x 1 11/16 x 11/16  inches, Metropolitan Museum of Art (courtesy Metropolitan Museum of Art)

Most of the existing paint boxes and palettes are Ancient Egyptian: They belonged to scribes, tomb painters, and recreational painters of the upper classes. Some include the original brushes — for scribes, pen-like lengths of rush grass, and for professional and recreational illustrators, thicker bundles of grass to compose larger images.

“Paint Box of Vizier Amenemope” (ca. 1427-1401 BCE), boxwood with inscription inlaid in Egyptian blue, 7/8 x 8 1/4 x 1 7/16 inches, The Cleveland Museum of Art (courtesy Cleveland Museum of Art)

Scribes’ palettes mostly held only red and black pigments and many bear inscriptions of the king’s name, suggesting the importance of the scribe in the eyes of the ruler. Inscriptions with the king’s name — as in a palette at the British Museum featuring hieroglyphs in high relief that read “the perfect god, lord of the Two Lands, Nebpehtire, s[on of Ra, Ahmose]” — may have noted that the owner was the king’s official scribe and suggest that perhaps the king himself gave the palette to the scribe.

An Ancient Egyptian painting palette owned by a professional painter and housed at the Met also bears the king’s name, but one at the Cleveland Museum of Art includes the name of the owner himself, signifying it was likely used for leisurely painting. Unlike scribes’ bicolor palettes, recreational and tomb painters used a wider range of colors, all naturally occurring besides so-called “Egyptian blue.” 

Replacing the expensive lapis lazuli, Egyptian blue was a synthetic compound made by heating malachite, sand, and other materials to a temperature of 1,500-2,000 degrees Fahrenheit. The method was adopted by the Ancient Romans, but by the Middle Ages, the process was lost, and painters relied once again on the prohibitively expensive lapis lazuli.

“Painter’s Palette Inscribed with the Name of Amenhotep III” (ca. 1390–1352 BCE), ivory and pigment, 6 7/8 x 1 3/4 inches x 3/8 inches, The Metropolitan Museum of Art (courtesy The Metropolitan Museum of Art)

In Ancient Egypt, blue was used to paint the gods (red, yellow, black, and green all came from the ground, making them unfit to depict deities). This concept is seen again in Christian art centuries later, with Mary and Jesus repeatedly depicted in blue. 

Across the world and made centuries after the Egyptian palettes, another ancient paint setlinks the painter to the divine. 

Source: https://hyperallergic.com/719033/centuries-old-palettes-illuminate-the-role-of-the-painter/