Window: traditional designs and prints
The current decorative collections are a good way of warding off the winter blues. No trace of reticence: fabrics luxuriate in shapes and colours; with the preponderance of prints, colour is finding its way back into textile interiors. And where fabrics remain plain-coloured, then there is much play of structures, surfaces and effects. These new fabrics now need to find their way to the consumer – and the sector is looking for effective ways to make this happen.
Flora provides material – even in the darkest season of the year. Whilst nature takes its leave outside and settles down for winter, inside, patterns bloom and flourish all the more luxuriantly on the new fabrics. Apelt stage some sensuous garden dreams with English roses, Canterbury bells, peonies and hydrangeas. At Jordan, clearly defined, individual blooms and stylised floral elements adorn the high-quality background materials. With a light touch, Fuggerhaus draw delicate, generously sized blossom contours on burn-outs.
Newly repackaged, tradition becomes a trend: Paisley patterns and traditional men’s fabrics, such as glen check and tartan appear in a modern interpretation, in large format and modern colours, spreading just a hint of extravagance (Apelt). Drapilux have rediscovered the classic mix of herringbone and twill, and this results in fabrics that are as decorative as they are hard-wearing.
Prints are putting the pressure on. Prints in general are in demand, particularly multi-coloured, digitally printed ones. Printing is allowing colour to find its way back into the world of interior soft furnishings, as Nadine Evering-Heitbrock from Gardisette observes. Turquoise, raspberry, melon, pistachio (actually typical summer colours) create some surprising moments and radiate the joy of living – at Jordan and at Saum & Viebahn for example. Non-colours remain important, too: ecru, sand, grey, greige, taupe, anthracite, mauve – simple, discreet and elegant (Fuggerhaus, Unland, Kobe).
Plain does not always mean completely uniform: more a complement than a contrast to the plurality of prints are the many different plain looks, textures and surfaces: crash and pleated fabrics, ribs and piqués, shrink yarns and diamond quilting, wool felts and tweeds, knits and nets, cut-outs and burn-outs, jacquards and double faces demonstrate the many and varied expressive qualities of monochrome fabrics. Three-dimensional embroidery remains important (Jordan, Fuggerhaus, Sonnhaus). Velvet, soft and gentle to the touch, is celebrating a comeback – and not only as a plain fabric, but also printed. Leather and fur bring a hint of luxury to the game – nature-conscious and not from real animals – naturally! But deceptively realistic imitations from high-quality, high-tech man-made fibres (Sonnhaus).
Never has there been such a variety and multiplicity of fabrics for the home – yet, for some time now, they have not been as uppermost in people’s minds as the sector would like. This is something that the “Initiative Textile Raeume” initiative seeks to change; editors, fabric publishers, wholesalers and weavers, suppliers and fabric finishers are all keen to awaken, with a professional publicity campaign, a new enthusiasm for soft furnishings amongst consumers and professionals alike, and thereby to stimulate demand. Initiator of the campaign, Martin Pötz, is convinced that the campaign really can get things moving, for “consumers are spending more than ever before on furnishings and eminent trend researchers forecast a tendency towards the greater use of fabrics in the home.”