Style Court

Eight Years of Textiles, History, Art, Gardens, and a Little Mental Traveling with Courtney Barnes

12.31.2012

What's Ahead

[Antique African bracelet via the High. Donated by Maureen and Harold Zarember of Tambaran Gallery.]

There's a lot to look forward to in 2013 and the High Museum of Art is one of the institutions kicking things off with a bang. Next week, the fourth annual Collectors Evening takes place Friday, January 11. At this event, participants vote on works to add to the Museum's permanent collection. Bringing another dimension to the evening this year will be the Live Auction with curator-chosen art and decorative pieces such as the 19th-century African bracelet pictured above. Crafted by an Akan/Asante metal-smith, it's from Ghana (formerly the Gold Coast) and represents a mash-up of African and European aesthetics. (According to the High, the ball-tip form is European while the organic, bud-like decoration is decidedly Akan/Asante.)


[In celebration of the Gogo Ferguson show, objects including this Alpaca Cockle Shell spoon will be available in the High's gift shop.]

Georgia's own designer Gogo Ferguson is drawn to metal, too. Shortly after Collectors Evening, the previously posted exhibition, Gogo: Nature Transformed opens at the High January 19. I think it's going to be interesting to look back at the evolution of her designs -- always connected in some way to the wild and to Cumberland Island -- but I also can't wait to see her new sea urchin-inspired ottoman and six by eight foot seaweed-inspired wall sculpture installed by curator Sarah Schleuning.

[Frida Kahlo via Haskell Harris]


[Girl With a Pearl Earring by Johannes Vermeer, c. 1665, Canvas, 44.5 x 39 cm, inv. no. 670.]

And there's more. More sumptuous objects. More fascinating women at the High. Frida Kahlo comes to the Museum in February when Frida & Diego: Passion, Politics, and Painting debuts in the U.S. on Valentine's Day, February 14. Next, Vermeer's Girl With a Pearl Earring arrives in June as part of an exhibition that explores scenes of everyday life -- the small but powerful moments -- in Dutch painting.


[Doris Duke and James Cromwell by the Jali Pavilion at Shangri La, 1939. 
Photo by Martin Munkacsi, copyright The Doris Duke Charitable Foundation.]  


Doris Duke isn't coming to Atlanta (disappointed sigh) but she will be in Florida when the landmark exhibition centered around her historic, East-Meets-West Modernist Hawaii house, Doris Duke's Shangri La, opens at the Norton in Palm Beach. The show first opened to the public last year, during Duke's centennial. Here's some background, in case you missed it.

[Image via Tory Burch]

I know the exhibition is still causing me to think of Duke's exquisite carved marble jalis everywhere I turn.

[Click to enlarge. Specially commissioned marble jali for master suite. Photo ©Tim Street-Porter from Doris Duke's Shangri La: A House in ParadiseSkira Rizzoli, 2012. Image published here with written permission from the photographer and book publisher.]

Btw, in her resort collection, Tory Burch uses not only lacey white patterns but also blue-and-white, which of course calls to mind the MFA's upcoming show.

 [Woman's shoes by Rodarte, 2011. MFA, Boston.]

12.20.2012

Trees


In the December issue of Southern Living, Thomas Lake writes about his mother's alternative Christmas trees: magnolia, camellia, or sometimes a humble sapling cut from her own property, but never a conventional fir. While these trees didn't seem cool to Lake and his siblings when they were growing up, I was inspired by the idea. Even attempted to collect enough freshly fallen magnolia branches for my own alt tree. It didn't work out, so instead I offer these.  

Above, a glimpse inside Matisse's Vence studio toward the end of his astonishing career as he worked on his tree-of-life stained glass window for the Chapelle du Rosaire. (Btw, in the BBC's documentary Modern Masters: Matisse, journalist Alastair Sooke takes an interesting look at the artist's influence on contemporary design -- nailing almost all the high points except cult favorite Arbre de Matisse -- and travels to see the luminous window.) More Matisse here.

[From Flower, Tony Award–winning set designer Scott Pask’s re-creation of the façade of Monet’s house. Photo by Michael Mundy.]

Getting bendier, branches at the New York Botanical Garden as seen in Lydia Somerville's piece for Flower's Winter 2013 issue. Her story explores the recently closed Giverny-related exhibition at the garden's Enid A. Haupt Conservatory, Monet's Garden. It's a really beautiful issue all around, and I was thrilled to be asked to contribute too.

[Photo by Francoise Halard, Vogue January 2013.]

This image is fixation-worthy. From Chloe Malle's story in the latest Vogue, it's the Brooklyn bedroom of Miranda Brooks and Bastien Halard and it embodies compromise gone right: lush custom de Gournay wallpaper juxtaposed with spare, masculine elements including a rustic bed designed and built by Halard.

Wishing you peace and joy this holiday.

-- Courtney

All week I've been experiencing technical glitches with Blogger's comments tool, so for now I'm turning them off. But many thanks to everyone who attempted to comment on the Lindsay post

12.18.2012

Palmer Ornament for Children


Potter Frances Palmer's Christmas ornament, created specifically for writer Dominique Browning's Slow Love Life, is an annual tradition. This year, the women decided to honor the murdered children of Newtown, Connecticut and the educators who lost their lives trying to protect them. One hundred percent of the proceeds will go directly to United Way's Sandy Hook School Support Fund. Read Dominique's thoughts and other suggestions here.

12.17.2012

New Blue and White + Kids' and Teens' Events

[Click to enlarge. Cockwise from the top left: Rodarte's 2011 "carved" wood heels with blue-and-white Ming-patterned upper; Rodarte's Ming dress, also 2011, silk with ribbon embroidery and printed hammered chiffon; Van Eijk & Van der Lubbe, New Dutch Blue, 2003. Porcelain with transfers. MFA, Boston.]

[Two Chinese lidded vases, Kangxi period (1662-1722), acquired by Elizabeth Duchess of Somerset in the late 17th century. They stand in front of a Chinese lacquer screen that dates from the same period but was acquired for Petworth in 1882 in the Hamilton Palace sale. ©National Trust Images/Christopher Hurst.]

With recent pieces by Rodarte, Van Eijk & Van der Lubbe, and other contemporary designers and artists, next year the MFA Boston will highlight works that, in one form or another, are continuing the millennium-old global phenomenon of using blue-and-white. The exhibition, simply titled New Blue and White, caught my attention because just last week the National Trust's Emile de Bruijn posted about 17th-century women and their blue-and-white porcelain collections. In the MFA's show, expect to see ceramics but also furniture, glass and textiles. This exhibition opens February 20, 2013.

 [Images (C) MFA, Boston.


Beginning next week, each day from December 26 to December 31, the Boston museum is offering kids and their families plenty of free activities, including jewelry-making, coin design, pet-related arts and New Year's postcard design.

[Image (c) High Museum of Art.]

And in Atlanta, the High is hosting free Open Studios for teens age 15 and older on alternate Thursday evenings from 4 p.m. to 7 p.m. There's an event this week, Jacket Remix and Handmade Gift Wrap on December 20, and the sessions continue through April 18, 2013. (These happenings are completely free, by the way, including free museum admission for non-members.) In addition to the stocked art studio, the museum offers use of sewing machines and fabric in the open Fashion Lab. Details here.

HiiHLights

[All images (C) HiiH Lights.]

Tristan Stoch of Cineastas has directed a beautiful video about the creative husband-and-wife duo behind HiiH Lights in Portland, Oregon. It's a serene five minutes, and seems to me to capture the gentle pace of the artisans' workshop.



Often drawing upon Asian aesthetics, HiiH Lights crafts sculptural handmade paper lights of all kinds. They've worked with the Metropolitan Opera of New York, creating custom lighting for the 2007 production of Madame Butterfly, but they also accept commissions -- small or large -- for weddings and for commercial and residential projects. And they sell readymade lighting too.
See some of their Chinese garden and New Year installations here.

12.16.2012

Redd Talk to Benefit Atlanta Refugees


Tickets are now on sale for Miles Redd's keynote presentation and book signing at the upcoming 2013 Cathedral Antiques Show. This long-running happening is an Atlanta institution and I'm sure Redd's presence on Thursday, January 31 at 11 a.m. will add another level of excitement to the latest winter week of events, which includes multiple house tours, by the way.

[I'm anxious to see if Howard I. Price Fine Art, one of the participating dealers, brings to the show a selection of baskets made by Wounaan and Emberá women in Panama. Decorative arts are one of the show's strengths]

Over four decades, the annual event has raised millions of dollars for Atlanta-area non-profits tackling a variety of issues. (Although organized by the Episcopal Church Women of the Cathedral of St. Philip, the church receives no funding from the antiques show; 100% of the net proceeds go to the chosen beneficiary.) This year's designated charity is Refugee Family Services, serving local women and children.

In terms of tickets, one option is the $40 Miles Redd Special. This package, for individual admission, combines Run-of-the-Show, Inspiration House, and of course Redd's talk.

Woven Splendor

[Late 19th–early 20th century blanket by Navajo people, Native American; churro wool, aniline, and vegetal dye; 75 x 50 inches; Given to the Birmingham Museum of Art by the estate of Coleman Cooper.]

Wonderfully graphic and durable, too, this brilliant red handwoven "wearing blanket" (a wrap worn by both men and women) is one of seventeen Navajo rugs and five chief's blankets recently culled from the permanent collection of the Birmingham Museum of Art for its exhibition, Woven Splendor. The show remains on view through December 30, so there's still time to see this special installation of stunning textiles.

[Image via Meredith College's Navajo research site.]

Ranging from the Victorian era through to the mid-20th century, these pieces really represent the endurance of weaving in Navajo culture. Historically women did the weaving from home, beginning and completing projects as they juggled all of their other household responsibilities. And while they wove many types of clothes, it was the commercial blanket (and later rug) trade that provided a way for mothers to help support their families. Visitors to the Birmingham exhibition will see the bold, spare stripes associated with earlier chief blankets as well as the diamonds and other geometric patterns that have essentially remained popular with Anglo-American collectors since East Coast Victorians began snapping them up.

Click here for a list of Navajo textile books.

The December Issue

[All images in this post © Southern Living 2013. Pictured above, the charming and always well-dressed Lindsay Bierman, Editor of Southern Living.]

[Keep scrolling for a closer look at these highlights from SL's December 2012 issue.]  

[Photo by Iain Bagwell]

If you happened to look at my Instagram feed last week, you probably noticed that a friend and I made Bourbon Pecan Snowflakes. These buttery, not-cloyingly-cute-but-still-so-pretty shortbread cookies were one of the first things to catch my eye when I started tapping through the iPad edition of Southern Living's December issue.


During other months of the year, I'm more likely to be looking at the magazine's stories on Southern designers ranging from Billy Reid to Angie Hranowsky to Barrie Benson. Or to be reading Editor of SL Lindsay Bierman's own thoughts on style and design. But few editorial teams embrace Christmas and Hanukkah quite as fully as the SL crew, and this issue inspired me to get out the mixing bowls and whisks. This year, in particular, there was such a big emphasis on all the different ways Southerners share with one another throughout the holiday season, so I asked Lindsay how it all came together. Being the gentleman he is, he took time to answer.

[Jessica Sloane at Belle Meade. Photo: Robbie Caponetto; Styling: Kim Perrett.]

SC: Is the December issue to you what the September issue is to Anna Wintour? Or would you say that the SL issues with the showhouses are your September Issues?

LB: It's a tie between those two issues. In fact, I've thought they'd both make great reality programming—all the miles of garland and greenery and fondant we're slinging around our offices in the summer.

The showhouses come with an entirely different set of logistical challenges, like the time I had to request, with my most passive-aggressive charm, that the contractor move all the two-story-high scaffolding that was blocking about 20 windows while we were trying to shoot. That, and asking if he would please expedite his efforts to get the plumbing operable--not being able to wash our hands all day, among other things, puts this self-confessed germaphobe totally on edge. The past couple of houses, knock on wood, have been finished on time and ready for us to shoot. I can't wait for you to see what we're building in Nashville for 2013!

[Photo: Jim Franco; Styling: Lydia Degaris Pursell.]

[Totally classic Old Dominion.]

SC: I think I've read that The White House has to start preparing for Christmas almost as soon as the trees from the previous holiday come down. How far in advance does your crew start planning?

LB: We start right up again in January with a call for entries to our Big White Cake Contest, and soon after that our Test Kitchen starts cranking them out for tastings. It takes every ounce of discipline and restraint I have to avoid them—I just wait to sample the array of finalists.

Last summer our decorating editor, Lindsey Beatty, [went into extreme Christmas over-drive] to get all her holiday stories photographed before she went on maternity leave. In early fall, we start to map out our seasonal photo schedules for holiday travel stories to run the following year, so it's a never-ending rotation of holiday cheer here at SL HQ!

SC: It was great to see Nashville-based designer/event planner Jessica Sloane and her unfussy, organic style represented along with other more classically polished looks in your December 2012 issue. From Brooklyn to San Francisco, this looser, rustic-skewing approach is so in vogue but it's always been a natural fit in the South. What drew the editors to Jessica and do you have any tidbits to share about the photo shoot at the Belle Meade carriage house?

LB: We always try to represent a broad range of style, from casual to more formal. I especially love Jessica's look—it has that chic Nashville vibe that isn't 'country' per se, but feels so warm, approachable, and distinctly Southern. There wasn't anything staged or contrived about that shoot in Belle Meade—it's all her.

[Natalie, aka Alabama, Chanin] 

SC: The gift guides this year are terrific. I think you suggest more than twelve unexpected group (or individual) after-Christmas adventures from Crafting in Carolina at the John C. Campbell Folk School to a Sewing Workshop with Alabama Chanin. How fun was it to compile this special trip section?

LB:  Glad you liked the gift trips! It may sound like a glamorous job, but our travel editors did a lot of vetting and nitty-gritty research and reporting to compile that list. I'm proud to say that it's advice you can really trust. I hope readers will use it as a resource all year long.

SC: You have to go into holiday mode long before December. How do you possibly get in the spirit of things once Christmas is really here -- what makes it real for you?

LB:  Quality time with my family. I absolutely treasure that week between Christmas and New Year's—I always spend it with my parents, and it's the only time in the year that I can really unplug without feeling like I need to check in with the office every few hours.


SC: Again, myriad ideas from a host of different designers -- and regions -- are featured in the December issue. Is there one in particular that surprised you? One you will try at home?

LB: I wish I could try all of them! But I do keep coming back to one image in particular: the Red Velvet Raspberry Tiramisu Trifle on page 85—I absolutely love the presentation and the idea of wowing the crowd with that elegant dessert. In case you're wondering, that's our super-stylish young production assistant, Ashley Williams, all decked out in vintage cocktail jewelry and a showstopping current season dress by Donna Karan.

SC: Would love to see which bow tie you'd wear serving it! Thanks so much Lindsay.

BTW: The Bourbon Pecan Snowflakes are delicious. Really, really delicious. There's still time to try one of the 77 most beloved cookies or bars, or the Red Velvet Raspberry Tiramisu Trifle, if you'd like to savor some quality time in the kitchen with your fam or maybe share with someone who's alone. Even more ideas and recipes here.

Read Lindsay's Three Wishes here.

12.14.2012

Gaberlavage and Fine

[W.J. Ford and C.O. Walsh by Hayley Gaberlavage.]

So we continue with soft nuanced color...and more saturated hues. And, since it's the holiday season, a couple of special sales on my radar. A range of work from 2012 Oxford American Superstar of Southern Art, Hayley Gaberlavage, will be available at reduced prices through December 21. This includes her well-known portraits, landscapes and abstracts. See the collection here and contact New Orleans-based Hayley here.

[Tangled Love I and Tangled Love II, both acrylic on canvas by Gaberlavage] 


Fellow Southerner, the incomparable Lisa Fine is having a sale too. As mentioned a while back, the globe-trekking collector and fashion and textile designer who divides her time between oh-so-chic digs in Paris, New York, and Dallas will sell some of her things at One Kings Lane on Saturday, December 15.  Look for the two Jacques Adnet chairs and the 1940's mirrored table in the photo of her Parisian apartment, above, dog mattresses made up in her print Cairo (in the jewel tones Candy, Iznik and Jungle) and more.

12.13.2012

Zak Profera Talks Mountbatten-Pink and Much More

[Unless credited otherwise, all images courtesy Zak + Fox. Temple Court photos are by Zach HankinsShown above, Palma in Mountbatten.]

I figured any man who designs textiles, knows the origin of Mountbatten Pink, and is currently reading Undiscovered Minimalism was bound to be an interesting guy.

[Katagami in Mountbatten.]



And I wasn't wrong.

[Plus in Mountbatten/Alabaster/Oyster.]

Let's start with Mountbatten Pink. Yes, the distinct color is named for the very famous Louis Mountbatten (the 1st Earl Mountbatten of Burma and the Last Viceroy of India). But this is not a Jaipur pink. In fact, it has no connection to India at all. Instead, the pink is associated with Mountbatten's military service as an admiral and Supreme Allied Commander during WWII.

[Wikimedia Commons image of Admiral Mountbatten.]

As textile designer Zak Profera of Zak + Fox explained to me in an email:

"Mountbatten, the true color, is actually a camouflage color initially created for British Royal Navy ships during the war. [For my own fabric collection], I wanted to offer a masculine pink. Or, rather, something that men wouldn’t necessarily shy away from if it were to be used in a room. I think pink is a gorgeous color, but not something that’s easy to live with for all. With a hint of grayish-blue and brown mixed in, however, it can read more as cream or mauve when paired with the right combination. I loved the idea of battleships and fighter jets donning a soft pink hue. It’s as ironic as it is serious, and I liked the juxtaposition."

[Postage in Plum.]

This unfussy softness is what draws me to the Zak + Fox collection. There's such a balance between masculine and feminine qualities. So, I had more questitons.

SC: Not to sound like we're in Gender Studies 101, but when you began, were you conscious of gender at all?

Zak: I definitely set out to create something that was intentionally "genderless.” Certain prints sway more masculine (like Postage) while others (like Palma) are quite feminine, but it’s the mix of everything that keeps a room interesting.

[Takigawa in Plum]

Something can still be simple and have a bit of warmth and personality. A design like Plus, for example, is unquestionably simple -- your eyes can relax over it -- yet the nuances in its color and lines give it enough interest that you want to explore its details.

[Jingasa in Rust.]

[The Umber option.]

Still Zak: My personal aesthetic leans heavily on super desaturated colors (but still, color) and lots of earthy hues. Brown can get a bad rap, but it’s probably my favorite color to live with. It’s an effortless neutral, leaning warm whether it's extremely rich or not. I love chalky colors that harmonize with materials like wood and stone, rather than screaming to fight for attention. I haven’t incorporated “pure” colors, like a true red or a true blue – even the plum color that I use has a lot of brown mixed in, keeping it from feeling fussy or decadent.




SC: Clearly you've spent time contemplating color, line, and texture. And your own prints often connect in some way with old patterns or motifs found in art history. When you were an art student, did you have any idea you would get into textiles? 

Zak: Not at all! I studied at the San Francisco Art Institute, which is praised for its highly conceptual way of thinking and teaching. I had entered the program for photography, originally; my idols at the time were Nan Goldin, Mark Morrisroe and Phillip-Lorca diCorcia. I then had a crazy love affair with Yoko Ono’s work and dropped the camera entirely to focus on more conceptual pieces, like room-sized installations just using scent and other sensory and experiential work. I loved the romance of it.

A few years ago, my friend Sara Sugarman at Decorative Carpets asked if I wanted to collaborate on a new line she was developing. It was a casual conversation but it blossomed into something truly inspiring, allowing me to consider this whole “world” of textiles. 

SC: Well, then how does your art background inform your process now? 

Zak: It can be a blessing and a hindrance. In school, a big part of the education resided in the critique process. We’d sit in plain white rooms for hours, discussing intention and meaning – aesthetics were almost secondary at points. Because of that, I’m always questioning “why,” which is great, because I inherently consider the story behind a work. I like things with depth and like creating things with depth. It gives something that’s static and lifeless a touch of soul; it lets people relate to an object on another level rather than something that’s simply material. 


[Volubilis in Alabaster.]



[Matsu on a Harbinger chair.]

At the same time, I can agonize over something that’s simply “pretty” because there isn’t some deeply rooted fable behind it. A lot of fabric designs are just that: beautiful and uncomplicated. Their primary role is to complement more boisterous prints. And I love simplicity. For me, it’s about finding a balance. In other words, I believe in beauty for beauty's sake, but when there’s a decision to be made about releasing something I’ve created out into the world, and frankly, into the marketplace, I still struggle with letting it just be “pretty.” I like the personal connection – the story.

[Palma in Rust.]

[Matsu in Rust.]

SC: When you're working on a certain print, do you have a sense of how designers are going to respond? Or are you often surprised?

Zak: I am a bit surprised sometimes, and I’m certainly conscious of how a print would be used, or how I’d use it personally. A pattern like Postage, which is wonderfully simple, yet perfectly nuanced, is a favorite for all. That was an obvious ‘hit’ when I was making it. (It’s also the most digestible since it doesn’t sway too traditional, or too modern; it’s perfectly versatile).

[The Snow option.]

Matsu, inspired by a traditional Japanese motif,  is perhaps the most popular – something I didn’t expect at all. I thought it was a bit crazy when I was designing it; the repeat is straightforward but the effect is adventurous and energetic. My New York showroom, Studio Four, upholstered a bench with it, which really shows off the patterning and effect, and I think that helped kick things off on the right foot. Harbinger in LA gave a great midcentury chair a makeover by using it railroad-style for a totally different look that I think is killer. The pattern takes on an entirely different vibe.


SC: Your fabrics (100% Belgian linen printed with water-based inks) are all manufactured in the USA, but again, aesthetically they have common threads with ancient designs and old textiles found the world over. For example, Karun, your dynamic print, is inspired by an 18th-century Indian Trade piece owned by collector Karun Thakar. I love that it's named for him. How did you become acquainted and ultimately produce the contemporary fabric?




Zak: I wish I had a better story, something of a chance meeting, but it was as simple as blind outreach. I’ve long admired his collection and was fumbling through different sources for inspiration, though I kept returning back to the Matahari trade cloth that Karun is based on. I’m drawn to minimalism in many ways, yet my own style is quite eclectic and not cold or sterile. There’s something about a “feature” piece that I love, and this design certainly falls into that realm. 

[Click to enlarge Thakar's original.]

The original design is extraordinarily simple and extremely dramatic, and I loved that something so pure could feel so wild. The goal wasn’t to create a true reproduction, but rather, something that felt a touch more modern, yet equally as adventurous. Its scale is tremendous (the motif itself is 22 inches in diameter) and it takes some innovative thinking to consider the possible uses for it. My version has a much cleaner backdrop but the sun’s silhouette retains all the wonderful nuances and imperfect strokes that often come in hand-painted work. 

And as far as the name of the pattern goes, I just didn’t want to deny the source. Many designers pull from history and present the past in a fresh way, and that was the goal here. It’s not the reinvention of something, but rather, a way to offer a new perspective to a new audience. Thakar was generous enough to offer some words about the original piece, and because of that, I think it gives a breath of life and substance to my interpretation, which is intentionally distilled down to its shapes and colors.


SC: Speaking of your trail of inspiration, I know you're very much an out-in-the-field, experiential kind of learner but when you are sitting still, you might be reading a textile book. Tell us about Undiscovered Minimalism. 

Zak: It's one of my very favorite (new) books by Parviz Tanavoli, which surveys gelims (flatweaves) from northern Iran. They are a bit “unplaceable” in my eyes; I love when it’s hard to identify a work’s origin. In a way it makes the world feel charmingly small, as though all cultures inevitably find influence in each other in some way, even when continents-apart.  

SC: What about films?

Zak: I have to admit that I don’t watch a lot of movies; I have a hard time sitting still for two or three hours and committing. But here are the films that top my list for inspiration: 


[Screengrab from Magnolia Pictures I Am Love starring Tilda Swinton.]

I Am Love (Who doesn’t love this movie? And I am obsessed with Jil Sander, who designed all of the costumes.) 






The Fall 

[Photo via the Victoria and Albert museum.]

SC: Museums around the world? 

Zak: I absolutely love The Noguchi Museum here in New York -- it is one of my very favorite places to visit anywhere. And I always visit the V&A when I’m in London.


SC: Your photo shoot with Zach Hankins at Temple Court has a certain cinematic grandeur and looks as if it took place in an Old World museum. At first glance, when I saw the fabric hanging and those heavily aged walls, I thought Europe or even, for a second, India. But you were right in your own backyard. Any comments on what drew you to the location? 

Zak: I had the opportunity to go on a private tour of the building, which is only three blocks away from where I live. I had walked by hundreds of times and had no idea what was behind its walls. When I entered the first time, I was with a small group, and we were escorted up to the top floor in a rickety elevator --- I think everyone was holding their breath a bit. The doors open up and you step out onto this insane and glorious wrap-around with the glass ceiling above you and the city skyline. You can’t help but be inspired. 

[Zach at work.]

Zak continues: I’m deeply connected to my neighborhood, which is constantly in flux as Lower Manhattan is changing so much, but beyond that, there was no doubt in my mind that this was the right place to do the shoot. It’s undeniably exquisite, and it doesn’t feel at all like New York -- probably why I love it so much. 

The hard part is deciding where to do the next shoot for my new collection. I think it may have to be a destination – I need to figure out how to top Temple Court! 


If you're interested in Zak + Fox pillows, rather than yardage, you can contact Zak's office about a custom order. He says he enjoys working directly with designers and design lovers alike, and notes that custom color is very easy for his team to execute, adding that custom projects can keep a very popular pattern feeling fresh and new. 

Currently, he is working on two new collections. One is based on tribal Turkish textiles (rugs and fabrics) and the other is a focused take on antique Katagami. The latter he collects and is apparently obsessed with. He tries to find the most outrageous examples and, as always, reinterpret them to transcend their origins.