Traditional weaving in Indonesia blends cultural heritage with contemporary relevance, adapting to modern interiors while promoting sustainability and economic empowerment without compromising its historical significance.Read More →
Goofus glass, developed in the early 20th century, features cold-painted embellishments on pressed glass, known for its fragility and intricate designs. Collectors prize its historical significance and aesthetic appeal.Read More →
Ilse Crawford collaborates with Kasthall to create a rug collection inspired by the serene Swedish landscapes, celebrating nature’s beauty and complexity through intricate textile designs.Read More →
Muffineers, popular in the 18th and 19th centuries, reflect dining customs and artistic trends. Their historical, design, and collectible significance endures today.Read More →
Pearwood, derived from the European pear tree, is valued for its warmth, fine grain, versatility, and historical significance in decorative arts.Read More →
Ceramic glazing, spanning millennia, combines art and functionality. From ancient techniques to modern sustainability, its rich history reflects human creativity.Read More →
Helen Abson, who trained as an architect, is an Australian designer. She pursued architecture for five years; founded ZAB Design where she designed fabrics that exhibited a preoccupation for texture achieved through pattern and colour.Read More →
I am not a natural when it comes to being able to distinguish between different shades of the same colour. It has now just become more difficult to differentiate a new shade of blue has hit a market called YinMn. Researchers named the pigment YnMn after its three elements: Yittrium (Y), Indium (In) and Manganese (Mn).Read More →
William Morris, a renowned 19th-century British designer and social reformer, sought to eliminate mass-produced goods and reintroduce beauty in home decor. He revolutionized British taste.Read More →
 He was a proponent of the Russian constructivist art movement. The term ” constructivism” came about because the artists claimed they riveted the images together as engineers, not artists.  In the early years of the Russian
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