For most designers, modern window coverings mean a solar shade, natural woven wood  or grommetted side panels. There is so much more to explore when it comes to this category. Someone on the cutting edge of modern is Erik Bruce.  Recently I had the pleasure of meeting Erik  a self described “ a modern curtaineer”. Erik was one of the keynotes at Vision12 and also took part in a panel discussion about the creative process.  Oh Boy! If you ever thought contemporary window coverings were boring or unnecessary you need to get to know Erik. Here‘s part of my recent interview:

How did you get started in interior design?

I attended a high school as an exchange student in Copenhagen, Denmark in the 80’s. That was my introduction to a sector of the population that is collectively more conscious of clean, functional modern design. Later, I was working with designers and costume shops sewing and sourcing for theatrical productions on Broadway in New York. A friend of mine introduced me to Mary Bright in 1998, who was truly the first innovator of her kind in the field of curtain design.

At the time I was doing the millinery for the Lion King. She hired me to sew leather wind block panels for the entry of the Mercer Hotel in NYC. We coined the term ‘Curtaineer’ and I still remember we used a herd of cattle in each panel! (Sorry vegetarians)

I managed her studio for 5 years and was the principal designer of the firm for 8 years after her death. Our business model was similar to fashion houses- Karl Lagerfeld for Chanel or Sarah Burton for Alexander McQueen- a principal designer carrying on the founder’s vision.

And now?

I recently left Mary Bright to start my own studio. It was time, as work slowed a bit; it was the incentive to try something else. I have four full time and four part time employees. Most of my work is architectural based, but I do work for interior designers.  I am hands on and still do some sewing; I am especially involved in the sampling. But most of my time is working with our clients. I am big on the interactive aspects of the process. Coming from a theatrical background I am very collaborative by nature.
If you could do anything else; what would it be?

An artist. If I could do anything without worrying about supporting myself, I would create art in whatever media inspired me. It would be even better if it took me to locations and museums all over the world to feed my addiction for travel at the same time.

How do you get your creative juices going?

Music. I am very inspired by it. All types from classical to jazz to alternative indie rock and electronica.

Please describe your sense of style? What words or phrases sum up your design aesthetic?

Functional, textural, and modern. I am most interested in how both natural and artificial light affects textiles and materials. One of my favorite phrases is ‘Don’t hide it – feature it.’ The aspects of stage design – draping, costuming and lighting- are the same as in designing windows. The magic happens between the lighting and the material being lit.

A dialogue between privacy and view takes place in this master bedroom, where richly colored layers of washed sheer linen and netting overlap one another.

Bradley Collection Edge track negotiated this challenging ceiling through the use of vertical ceiling brackets and a 90 degree bend.

In another project for the Mercer we did draperies that have a series of vertical and horizontal seams using several different sheers. The seams and materials created lines, shadows and set the mood in the room. Something that we would normally hide became the design element.

Do you identify yourself more as a designer, architect, collaborator? Strategist/problem solver?

I was trained as a designer of scenery and costumes. That field also taught me to solve problems quickly and efficiently. My emphasis has always been fine arts. I earned my MFA at Mason Gross School of the Arts, Rutgers University. I also studied art history, which gave me a strong sense of context both in the art world as well as in fashion. I consider myself a designer, but inspired by the process of making things.

You are known for developing new inventive solutions for windows. Can you give me one or 2 examples of your out of the box thinking?

I think modern glass buildings are the perfect example. When you walk into a space with all glass elevations, the light and exposure can be overwhelming. I try to create a program or strategy for revealing the views and light. When faced with an entire wall of glass, roman shades, swags, and valances are pretty much irrelevant.

I once designed a window treatment for someone that claimed to hate window treatments. The treatment folded and dropped below the window when they weren’t using it.

The stationary, metallic white vinyl and bobbinet panels in the living room mask the low roofs of adjacent buildings, improving the view and ensuring privacy

Erik Bruce used a combination of standard brushed stainless steel hardware and custom hardware to create these textile arrangements.

 How do you market expensive custom window design to a market who, I’m guessing, often agree with the one client that “hates window treatments”?

Yes, it is an antithesis in a way. I am desired for the fact that what they see in the marketplace for window coverings they don’t want; so they come to me for something else. Right now, the designer reigns supreme. Building a successful relationship with them and having lots of back and forth to what will work better is key. It can be a double edged sword- you sometimes have the desire to contribute when it isn’t wanted and on the other hand sometimes you are asked to do more that your “role” to make sure all bases are covered.

How does your approach to window treatments differ from most interior designers?

There is so much emphasis in our industry on surface design and not the overall concept, by the time the designer gets to the window they continue that thinking – matching the sofa, coordinating patterns- they consider the window just another piece   and don’t consider the window interactively  in  the whole room.

I think I am more conscious of what happens to the textile with light behind it as well as in front of it. Designers are focused on the surface details and finishes. I am more concerned with controlling light and how it is filtered into the room through the textile.

Clients come to me for ideas, they want me to tell them there is an idea and define it because most can’t tell you what they want.

The industry model is that designers specify materials and different headers and maybe the hardware to hang it on. There isn’t as much interaction.  How those things are executed can be hugely different and greatly affect the results. You have to be good at the craft. That is the most valuable commodity, plus it’s not easy to shop.

I have built relationships with architects and designers. I act as the mediator between them and the client when we put forth new ideas. A big part of my relationship and job is educating the client; when you do they will pay more and you can charge more. If you can’t get past the first hurdle- how do you put a price on it?

What are some of the common mistakes you see designers make in the selection and creation of window fashion designs as it pertains to the entire room design?

The most common mistake I think is selecting a textile or treatment before deciding what purpose it serves. I think it’s important to solve the functional aspects first and then get into aesthetics and coordinating with other elements in the room. I also prefer to have some specific requirements to work within rather than a wide open canvas. I find unlimited options overwhelming.

What do you find most challenging when it comes to designing and creating window fashions?

I think the most challenging aspect is the installation. That’s when everything is revealed; just like the grand proscenium curtain in a theatre. That’s when you find out if you used the correct measurements, chose the right fabric, let it hang long enough before cutting, etc. You also have a limited amount of time at that point so the pressure is on.

Are there any special projects/commissions that you have done that really highlight the window?

I worked on a project with Mary Bright for a residence on Central Park West. The views of the park were incredible. The client was obsessed with using a grey silk taffeta for the window treatment but she didn’t want to block the incredible views. The silk was not sheer enough to see through and we were concerned about the longevity of the silk directly in the window with so much sun exposure. We decided to create a ripplefold curtain that draped across the ceiling on top of the picture window and formed a knot at one corner of the room. There was also a second layer of thin white silk voile over the taffeta. The two fabrics twisted and draped down the side of the window and pooled all over the sill. I loved that it was elegant, dramatic and humorous all at the same time. It did everything except cover the window.

Best window fashion advice?

Less is more. My interest in Mid Century Modern inspired by what I saw and learned in Denmark, spurs me to the idea to look for function, keep it simple and focus on materials. Modern architecture relies too much on the simplicity of roller solar shades then needed or is appropriate.  It’s a lot more interesting to focus on the harmony of materials through the craft. I compare it to applying hand finished Venetian plaster vs. applying a Ben Moore paint color. There is a different level of finish and execution.

What is one of your secret sources?

WDavis, LLC. But now it’s not a secret source anymore, is it? It’s the company that makes the metal mesh for Whiting and Davis handbags and jewelry that became very popular in the early 80’s. I once used their stainless steel chain mail for a curtain on the outside of a cast concrete house in California. The client referred to the curtain as her ‘architectural bling’. It glistened in the sunlight. It is also resistant to corrosion from the salty air next to the ocean. The material is used for shark diving suits.

Chain Mail Drapery via Erik Bruce

Having a modernist point of view- and not to put words into your mouth do you think window coverings and innovation are mutually exclusive?

No. On the contrary, modern architecture is begging the window treatment industry to be innovative. As we strive to bring more natural light into the spaces we inhabit, it also becomes necessary to control the light and create privacy when we want it. I think many architects are not interested in anything other than roller shades simply because most workrooms don’t use anything other than header tapes in their curtains with way too much fullness. There aren’t enough options on the market for soft treatments.

The New Museum Erik Bruce for Mary Bright The New Museum project was photographed by Christopher Lovi and the architects were Christoff Finio.

Speaking of materials and innovation- do you see any new materials, products or technology that customers will start to insist on?

I think there will continue to be a demand for smarter textiles in the window treatment industry. Fabrics with aluminum or steel backing to reflect the sun and reduce heat gain. I also see a trend toward clear acrylic poles and hardware. I love it because it works well in almost any context. It’s so neutral; almost invisible.

North Carolina Museum of Art - Erik Bruce for Mary Bright

1)      Good lighting

2)      My label maker

3)      My walking foot machine

What is your most favorite / exciting recent discovery?

iCloud. The same data on all my devices! And Time Capsule. Apple’s solution for automatic back ups that you never have to think about!

The Cobblers shoes scenario- what is one thing YOUR house needs right now?

How did you know??? Ok, I have to admit I have paper redi shades on my windows right now. I recently moved my business out of my apartment, which left it very empty so my home could be described as incredibly minimalist at the moment. Seriously though, redi shades are a great temporary solution for clients while they are waiting for you to finish their treatments. The white are translucent and the black are blackout. They come with a self adhesive strip at the top. One last tip… Mount them directly to clean glass or the frame of the window. That way they won’t damage the wall finish or fall off after a couple of days.

Sneak Peek at what Erik’s doing now… He’ s working on a project for the United Nations with the Dutch government and Knoll textiles.

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Miyake’s Fall Winter 12-13 Paris runway show  started out with a mise-en-scene of  assistants steaming fabric lengths hanging on racks. As the audience watched, the garments took shape – stretching and shrinking, creating pleats that were pulled inwards with steam; while unresponsive areas puffed out into sleeves and cowl necklines. The end result- Genius!

via The Clothes Whisperer

Called ‘steam-stretch’, the innovative textile is ‘an instant technique’. Issey Miyake’s young womenswear designer Yoshiyuki Miyamae, said,” It’s a bit like microwave food. It’s ready straight away.”

via The Clothes Whisperer

The innovative “Steam Stretch” fabric can be programmed in advance, then to be transformed into different silhouettes with a simple “Steam finish”.  Using “steam stretch” wool and stretch yarn, woven on a curve line and shrinking to create an undulating weave, producing a trompe l’oeil ribbed knit effect. Comparing the process to the polishing of rough stones into glistening jewels, the colorful shapes obtained out of a simple piece of cloth is meant to “bathe the wearer in their own multicolored brilliance”.

Miyamae named the collection “Mineral Miracle,” because of the natural elements built into the instant “steam stretch” technique. It also refers to a selection of the outfits featuring diamond-shaped facets that break up the cloth, with different colors and fabrics. But, “Mineral Miracle” was all about fabric innovation, staying true to Issey Miyake’s legacy.

via Style.com

via Style.com

As always, the Issey Miyake show turned out to be a beautiful display of textures and colors, focusing on their unique textile technology development.

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Design Confidential just returned home from sunny and warm L.A  and the  Design Bloggers Conference and it was AWESOME! I have been to a lot of conferences and trade shows and I can honestly say it was the best one I have been to in 5 years. I credit the enthusiastic and open attendees, the well planned and executed agenda, the amazing lineup of marketers and design bloggers. This was the first time I have attended and it was all I expected and more.

Martyn Lawrence Bullard speaking at DBC

The event kicked off  with Martyn Lawrence Bullard walking through a retrospective of his work, sharing personal  stories and giving us an inside peek to the lives of the rich and famous. (Love how his  entrepreneurial  spirit sparked his design career; that man has seen it all and the world.) There was no let up with two days filled with nonstop education, networking, and epiphanies  all rolled up into one big  extraordinary experience that finished Tuesday evening with a party at Harbinger in West Hollywood  hosted by Trad Home/ Kravet and Bunny Williams. Here’s my roundup report of the conference.

Shadowboxes of Wayfair home furnishings

Wayfair Party

I loved the shadowboxes and in a room full of designers you can bet they were rearranging the furniture!

Social Media Star Sightings:

• Rhonda Carmen, All the Best
• Tobi Fairley
• Martyn Lawrence Bullard
• Bunny Williams
• Cassandra LaValle Coco + Kelley
• Leslie Carothers
• Macala Wright , FMM
• Annie Selke, Pine Cone Hill
• Stacy Kunstel, Stacy Style
• Lisa Ferguson, Décor Mentor
• Holly Hollingsworth Phillips, The English Room

This is just the tip of the iceberg. The list goes on and on….

Panel Discussion with Rhonda Carmen, Tobi Fairley and Cassandra LaValle

Best Memory: Technically my best memory wasn’t at  DBC, BUT, if I hadn’t  gone and met up with fellow designer Cheryl Draa; it would never had happened. Cheryl and I were invited to Hutton Wilkinson’s Sunday before the conference for tea . Hutton worked with the fabulously eccentric Tony Duquette. Duquette was a design giant and his over- the- top stylings are something I closely align with when it comes to design. Never for the life of me did I EVER think I would get a chance to have an invitation like that; (Heart be still…) yet alone to have a  tour of Hutton’s jewel box house and Dawnridge – Tony Duquette’s stunning home- next door. I can’t tell you how amazing it was, the colors, the textures, the contrasts  – MORE is definitely better! (More on Dawnridge, Hutton and Tony  about this later this week.)

Best Quotes: The audience was all a twitter with these quotes:

“The 70’s Vibe is the new black.”    Martyn Lawrence Bullard

“Commenting isn’t necessarily a bad thing; you can only say so much about pretty pictures. “ Adam  Japko, Design Sherpa

“ Money is a good lubricant. ”   Kimberly Seldon, Dabble

“There is a lot of value in your F—ups.” Brian Patrick Flynn, Décor Demon

Surprise!

Adam Japko, Design Sherpa and wine aficionado  surprised us all with a fabulous  morning  toast  of Pierre Gimonnet Champagne. Now that’s a  ”coffee” break.

Blogging: The new marketing and PR channel panel- Liza Weiner, Becher Associates; Kristine Kennedy, Wayfair; Stacy Kunstel, Stacy Style

Top  takeaways:

• Be your authentic self and don’t over think it. Your brand should have an authentic voice, authentic look and authentic content.
• Find your niche and blow it up.
• “Every brand has a story- What is yours? Make your story available to everyone, everywhere and you’ll be part of the conversation. Amplify your voice. Be seen, Be heard, Be Shared and Be remembered and you’ll be invited in to the tent.”  Tami McCarthy

Sites I HAVE to check out: Each speaker or panelist shared their favorite resources. These are my must dos.

• Design Sherpa
• Appify- already on it!
• Discovered
• Instrgr.am
• Stipple
• Chimein
• The Fancy

DBC Buzz words

• Curated Content
• Authentic
• Subject Matter Expert
• Point of View as in “What is your point of view?”
• Relevancy
• Passion
• Tenacity
• Stories – authentic stories, tell a story, craft your brand story
• Elevate
• Focus

Lessons Learned

• Find your inspiration and lend a perspective to it to “pay it forward”. Bring inspiration in context with content.
• Promote yourself; no one else will. Something I think designers have issues with. Entrepreneurs often struggle with little self esteem .
• Collaborate with people who complement your strengths

I have already marked my calendar for next year’s event and there is even a possibility that there will be a European version. WooHoo!

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Reposted from Co.Design

I had to repost this because it is a fabulous example of the kind of   results you can get when you listen to the client and design innovation to meet their needs. I have always been intrigued with the design process, so I would have loved to be in the rooms with the show designers as they brainstormed and collaborated their way through the design process creating groundbreaking techniques to fulfill their client’s “wishes”.  Imagine the possibilities of this technology when applied to interiors! ( Window Coverings industry take note it CAN be done ; we just have to commit to it!)

Nike Unveils Its Big New Paradigm: Shoes Knit Like Socks

The new Flyknit shoe was the product of four years of R&D, which yielded new machines for a fabrication technique that never existed before.

When most of us think about what we want in a shoe, a sock probably isn’t the first thing that comes to mind. Sure it has comfort, but what about stability? And how about some support?

Nike is filling in those blanks with its newest line, Nike Flyknit, which will make its big splash in the Olympics. Four years in the making, Flyknit is the product of an entirely new shoe-making process that can produce a single, lightweight knit upper (tongue included). The resulting intricate patchwork of yarn, cables, and fabric boasts a heretofore unseen look and feel.

READ MORE

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While in Paris last week visiting Le Manach, our wonderful host mentioned that we should make a point of seeing the Interieurs 2011 showhouse held just off the Champs Elysse at Hôtel Dassault This is the second edition of the showcase organized by Architectural Digest( FR) and Artcurial and this year’s theme  - The art of living with art-certainly lives up to its press.

Twelve top French interior designers were invited to illustrate his/her relationship to art, from collaborations with artists to art-inspired sets to the staging of collections. The goal of the producers was to show today’s diversity in interior design and the decorative arts and to reveal future design trends.  This was a not- to- be missed event and we were so excited to be able to see it.

 The cherry on top was lunch at Café Artcurial after viewing the exhibit, as I got to check the Café off my list to eat at in Paris. ( Basically, I wanted to see the restaurant’s interiors designed by Gilles et Boissier.)

The rooms and designers:

• The Japanese Office by François-Joseph Graf
• The Caesar Salon by Alain Demachy
• The Mark Rothko Styled Bedroom by India Mahdavi
• The Living-room in Optical Illusion by Olivia Putman
• The Dream-like Library and Bedroom  by Roxane Rodriguez
• The Sculptural Dining-room by Chahan Minassian
• The Private Art Gallery by Jean-Louis Deniot
• The “other” Kitchen by Tristan Auer 
• The Porcelain Office-Dining-room by Laurent Buttazzoni & Associés
• The Cocoon to contemplate a video by Pierre Yovanovitch
• The Three-dimensional Living Room by Thierry Lemaire

 

Interieurs 2011 – Artcurial by aucoindumondedeco

French showhouses are conceptual as U.S. showhouses are literal. You have to walk through the rooms with an open mind and read between the lines of what the designer was trying to express. My favorites were:

The room as Mark Rothko to India Mahdavi

 The project. The designer uses the palette of  painter Mark Rothko in a patchwork of squares of velvet wool, cotton and silk that lines the walls and extends into curtains.  The multicolored geometric print carpet with animal skin contrasts the walls.

 The decorator. An architect trained in Fine Arts and then at Christian Liaigre, India Mahdavi founded her agency in 1999. She has been exploring different areas ranging from design to interior design, through set design, and master the art of the bold stylistic juxtapositions

 The most outrageous and fabulous!

The Sculptural Dining-room by Chahan Minassian

The project. The decorator showcased the Belgian artist Arne Quinze, famous for  upcycled wooden buildings. A sculpture of wooden beams juxtaposed against gilded and paneled walls that is reflected on a mirrored floor.

The decorator. Chahan Minassian excels in art since 1993 atmospheric sets, mixing subtle shades, textures and game style agreementsFor this Parisian-Armenian, furniture, fabrics, ceramics and works of art are part of the same story.

The “other” Kitchen by Tristan Auer

The room is an architecturial synthesis inspired by the artistic currents of the 20^th century such as surrealiasm, arte povera, minimalism and artists that embody these movements like Rene Margitte   The “HABITATION CELL” combines all the functions of the kitchen into a mirrored brass monolith and explores light and space as if in a darkroom with an image projected onto a sensitizied surface.  

The Three-dimensional Living Room by Thierry Lemaire

The project. Parquet Versailles goes from floor to on the walls. A piece of aluminum sculpture by artist Christophe Raynal, is a kind of  metal springs of a chair. Her simple furniture – sofa taupe, buffet and coffee table composed of three modules lacquered white, turquoise and beige – play it down and remember that it is in a salon.

The decorator. Elegance and simplicity define the style of Thierry Lemaire.  This Parisian architect made a debut in the building before going in the decoration of private projects, and appreciates the authentic raw materials he works with modernity.

The Private Art Gallery by Jean-Louis Deniot

The project. The hallway, staircase and gallery suggest the atmosphere of a collector. Jean-Louis Deniot reinterprets, combines and  stylizes in neutral tones patterns borrowed from the paintings of Bernard Frize, Sol LeWitt and Peter Zimmermann for murals, printed carpets and wall fabrics as wispy graphics.

 The decorator. Deniot  is second to none since 2000 to relax the French classicism.  At his best  in the total look, this thirty graduate of the Ecole Camondo prefer the mix of styles in muted silky  shades.

The Porcelain Office-Dining-room by Laurent Buttazzoni & Associés

The project. The cubicles of BSM office furniture welcome a collection of china – pieces by contemporary artists like Klara Kristalova, as well as chinoiserie of the eighteenth century. In the center of the room, a flesh pink banquet table drawn close, the seats high time. Curtains and portieres in buttercup provide the key to the pop scene.

The Decorators. Colorists Fins, Laurent and Frederic Lavaud Buttazzoni boost their rigorous architectures shots by keeping solids alive. The pair met on the banks of ESAG Penninghen before collaborating with Andree Putman, and in 1995 founded their agency, known for its retro-modern achievements.

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