The season’s decorations play tricks on our eyes and senses. Designs can’t be read at first sight, and are deeply embedded with double meanings, visual tricks and games of hide-and-seek. Shine steps in as a troublemaker, to interfere with the patterns. All this with a fast-growing eco-friendly offer.
Motifs broadly flourish, and the graphic treatment is modern, reinterpreting upholstery codes on a dark background. The influences of Art Deco, Art Nouveau and Japanese flowers are revamped by their scale and a certain graphic simplicity. Embroidery adjusts to this generous scale and flowers and foliage are on the rise. Lace favours larger patterns, more open tulle, square netting. Leavers lace features patterns viewed under a magnifying glass, flowery Chinese shadows and magnified ornaments.
Flowers are not on display this season, they are revealed. The exotic ones surface at night, in strange colourways, reversed like a photo negative. Bouquets seem to have been caught in motion, flowers stream and disappear into the background. Patterns are precise but their reading is perturbed by grounds that have also been carefully elaborated.
The eye gets lost in Indonesian batiks whose grounds are saturated with motifs. In lace, plays on fullness and emptiness create a confusion between ground and form. Embroidery applications are cut from printed decorations.
The season’s metallics interfere with patterns and weaves. Light disguises patterns, making them unreadable by intermittently masking/exposing them. Precious wovens seem nibbled away by the shine of metalloplastic yarns that blur motifs. Multicoloured tweeds are partially covered with sequins. Fluid metallized silks seem partially worn. Flowered and ornamental jacquards catch the light with flashes of warm metals.
Materials and abstractions
Abstracts move away from a pictorial task and adopt a more designed and decorative vocabulary. Printed and jacquard camouflages are re-imagined and redesigned with vegetal or figurative elements. Marbling is very widespread, evoking both dipped papers and mineral strata, while sprawling scrolls trouble surfaces.
In exceptional silks, dark iridescents and refined lamés create oily meanders, while embossed jacquards look like sparkling lava, solidified foam or precious geological crusts. Cut-yarns escape from woven fabrics like disorderly, unkempt hairs, like eccentric fleeces.
Geometry grows more complex to produce wave-like interlacings, virtuoso puzzles and 3D illusions. And yet at first glance, they look like mere juxtapositions of simple and colourful shapes – checks, chequerboards, rounds and cubes, flat swaths like paper cut-outs. Jacquards combine preciousness and interlaced geometry.
Complex braids, imbricated repetitions, entwined symbols transform printed “all overs” into infinite networks. Guipures trace complex labyrinths while lace veers off into a pretence of interlocking stripes and checks.