Reviving

the Forties
™

thetrendcurve

Vintage Chair
by MissPrint
to m o r row ’s t re n d s to d ay

A
t Maison & Objet in Paris, color was a focal point,
eclipsing every other aspect of trend. The Blue
family led the charge. Having gone on the watch
list over a year ago, Blue was finally flowering at the
January show. Most important were Red-cast shades
evocative of Denim, but there were other Blues as well.
Periwinkle, interpreted as a saturated mid-tone hue,
emerged in strength, particularly for decorative acces-
sories. Sapphire, equally Red-cast but quite bright,
provided this family with intensity. And Navy with an
infusion of Red was also worth noting.
At the same time, a version of deep Blue featuring
a hint of Green, called Ultramarine, was repeated
over and over again. Along with Cyan, Turquoise and
especially Glacier, it suggested that the warm side of
the Blue family would not exit quietly. Instead, showing
multiple Yellow and Red casts together was an impor-
tant update for Blue vignettes.
Purple was still surprisingly prevalent. The best shades
came in two different looks. At Kenzo and Vibieffe, for
example, saturated hues hugged the Blue side of the
color wheel. This pushed Purple up against emerging
Red-cast Blues in a move meant to extend Purple’s
trend status. At the same time, companies like Wind
were transforming Purples into Mauves. In fact, the
“Mauve-itization” of Purple was in full swing at Maison.
Green was another color family on the move, with some
companies debuting as many as five personalities and
values at the fair. While a Minty pastel felt more than
fresh, Citrine was the hue that got everyone’s attention.
Still, Olive grew most consistently (in both middle and
dark values) and Broccoli presented a saleable new
option. Warmer than Evergreen, yet cooler and less
complex than Olive, Broccoli has real potential. It is
recommended at the high end at once.

02.11 THE INTERNATIONAL AUTHORITY ON TREND FORECASTING FOR HOME FURNISHINGS

©2011 MARKETING DIRECTIONS, INC. ANY REPRODUCTION OF THIS PUBLICATION IS A DIRECT VIOL ATION OF FEDER AL COPYRIGHT L AW. THIS INCLUDES,
BUT IS NOT LIMITED TO, COLOR COPYING, ANY OTHER PHOTOCOPYING OR FA XING, E-MAIL DISTRIBUTION OF COPY OR POSTING CONTENT ON THE INTERNET.
 VG NewTrend’s Periwinkle Blue Zigzags looked subdued at Casamance
Pink gathered momentum in Paris. Most obvious
was the presence of Hot Pink in a range of décor
products featuring it alone, contrasted against
a neutral or newly paired with Navy. Meanwhile,
a meringue-inspired Pink signatured an incom-
ing, ethereal complexion for pastels, while Rose
stepped up in middle values. Echoing the 1980’s,
Pink/Blue combinations kept popping up through-
out the fair, some in very Contemporary-style prod-
ucts. Regardless of the value, these Pinks remained
cool, signaling that the reign of Coral-inspired hues
would not last too far beyond 2011.
Yellow took time off, and Orange struggled to be
seen. Rusty hues popped up here and there, but
rather than making a statement about Orange, they
seemed to allude to Red. Of all the colors, both
emerging and established at the fair the one it was
impossible to stop thinking about was Blood Red.
As all Reds and Pinks rise for 2012, expect Blood
Red to play a key role. On the neutral front:
• Gray still had a large following.
• Warm Grays were not any stronger than last time.
Chevalier Edition’s zigzags
• Centered and warm Grays joined with Taupe in
worked within a tiled design many assortments.
• Beiges kept growing, but…
• …Yellow-cast Camel Browns had a fashion edge.
™
thetrendcurve
• Black backed off.
Geometric Perspective
I f there was one thing that January 2011’s Maison
& Objet fair made clear, it was that trend and
countertrend still walk hand-in-hand. That was the
message behind the two key approaches to design
in Paris featuring styles that could not be more
different. The first pushed Contemporary looks to a
new extreme.
2 ©2011 MARKETING DIRECTIONS, INC. ANY REPRODUCTION OF THIS PUBLICATION IS A DIRECT VIOL ATION OF FEDER AL COPYRIGHT L AW. THIS INCLUDES,
BUT IS NOT LIMITED TO, COLOR COPYING, ANY OTHER PHOTOCOPYING OR FA XING, E-MAIL DISTRIBUTION OF COPY OR POSTING CONTENT ON THE INTERNET.
Broccoli Green mixed with
established Gray at Ivano Redaelli
The story had a geometric perspective that began
with zigzags. These jagged lines made huge
advances. They oozed intensity in multi-hued
repeats, became subdued in mid-tones or neutrals
and seemed almost blurry in analogous color com-
binations. Chevalier Edition used them as separa-
tors within a tiled, abstract-geometric design (tiling
elements of all kinds were on-trend and building at
Maison). Missoni, known for zigzag patterns, offered
a well-spaced one in Navy-plus-White for a graphic
look that sidestepped the predictability of Black-
and-White. Zigzags are recommended into 2013.
Closely related, diamonds also leapt ahead. They
came not only in a range of products and price-
point levels, but also in several variations:
• Hay featured rugs with thin, one-color outlines
against a neutral ground.
• Nanimarquina started with diamonds of two
sizes, filling some with color and leaving others
outlined. The color/outline placement felt
random.
• Artesania Textil interpreted outlined diamonds
in ikat personalities for an ethnic flavor.
• Kare began with thin, concentric outlines. They-
were centered with a small Turquoise or light-
Green diamond. Tiled horizontally and vertically,
and colored in Black on light Gray, the effect was
like op art on the eyes.
• Les Heritiers’ relief lamp base alternated regi-
mented Camel diamonds over a White ground.
• Philippe Hurel’s ottoman was one of several
examples of merging diamonds into plaids via
argyle accents.
Stripes and lines became fascinating. A variety
of rhythms went from shirting-striped upholstery
(Fancy Home Collection) to cabana-striped wicker
trunks (Riviera Maison) to graphic table-linen
stripes filled with pattern (Le Jacquard Francais). A
new interplay between patterns and forms was also
a factor. Case in point:

• D’Argentat’s upholstered chair looked like five

neutral lines of uneven lengths that were coinci-
dentally abutted to form a seat and back.
• Stepevi’s rugs were made up of staggered wool
lines mimicking planks in a wood floor. They
made no attempt to hold a common edge.
• Toulemonde Bochart’s rugs featured irregular
stripes that looped back on the bottom, instead
of running to the edge.
Edgy geometrics inspired by rhomboids continued
the story. They were part of a cubist trend that
has been emerging in the Contemporary realm for
several months. Surface designs felt angular and
off-kilter. Some read like boxes pushed sideways on
one end, while others had random, crisscross line
patterns. Lines of six-sided polygons were laid over
diamonds to create a chaotic landscape that felt
like a perfect metaphor for today’s complicated and
technological world.
Abstract geometrics were revived with Forties inspi-
ration as well. They went along with returning mid-
century furniture silhouettes and retro advertising
themes (especially baking and food products) from
the same era. Rounded rectangles, two-color dots,
elongated-hexagon lines and Sputnik-burst flowers
popped up all over the show, creating a bridge from
familiar to edgier geometric stories.
Whether interpreted as surface designs or as
intense, surreal and twisted forms, geometrics are
putting their mark on mainstream design. In doing
so, they are establishing a look for the early part of
this decade that is as groundbreaking as Modern
was more than sixty-five years ago.
So Pretty
Staggered lines from Stepevi
emerged in here-and-there touches to make matte
metals, woods and fabrics more memorable. This
paralleled a broader trend seen throughout the fair:
All-over metallic coatings were post-peak, but pearl
and metallic touches, randomly placed sequins and
shots of iridescence were definitely ascending (and
recommended into 2013).
Secondly, refined linen used for decorative acces-
sories—pillows, ottomans, throws, etc.—was giving
up share to tissue-thin linen with frayed edges, or
to coarser fibers that felt more like burlap. Some of
the heavy, textural fabrics were antique produce
bags like those we have seen before, but with fewer
finishing techniques than in the past (no bleaching
or fancy color printing). Although linen has been
a trend fabric for man seasons, these shifts help
make it worth noticing anew.
Toiles hinted at a larger role in the future of Vintage
style, but they, too looked rougher and more tex-
tural. White typical pen-and-ink renditions formed
a foundation for toile’s emergence, directional were
Gray-on-White bird and floral designs in a thicker,
gloppier hand. A less-refined take on toile
seen on Lene Bjerre Design’s pillow
And finally, textile products that
relied on layered printing using
full-color motifs, shadows and
outlines had competition from

P
another approach to dimension.
retty motifs provided the market with a softer
Appliquéd fabric pieces, detailed
point of view that balanced hard-edged
with simple contrast stitching
geometrics. These feminine icons made themselves
and unfinished edges, began
known in an ongoing Vintage trend that had accel-
layering over one another, as well
erated at Maison & Objet. The top icons did not
as the ground. Not only that, but
change: postage stamps, postcards and postmarks
patterns in these tiled designs
from France and around the globe remained the
were much more colorful than
most popular. Songbirds were still there as well. So
the prints of the past. And while
were butterflies.
some designs were floral, small
In spite of their importance, Vintage evolutions at checks were also in the mix, sug-
this fair were actually quite subtle. First, metallics gesting that Country looks will

©2011 MARKETING DIRECTIONS, INC. ANY REPRODUCTION OF THIS PUBLICATION IS A DIRECT VIOL ATION OF FEDER AL COPYRIGHT L AW. THIS INCLUDES,
BUT IS NOT LIMITED TO, COLOR COPYING, ANY OTHER PHOTOCOPYING OR FA XING, E-MAIL DISTRIBUTION OF COPY OR POSTING CONTENT ON THE INTERNET. 3
 Rugged textiles and new piecing: Maison Caumont Marcie Designs’ photo-realistic flowers

begin to sit along side Vintage ones in the future.
These evolutions confirm that Vintage style will
have longevity. Because consumers like its texture,
authentic and feminine point of view too much to
let it go any time soon, watch for further adapta-
tions continuing into 2013. What might be ahead?
In addition to more overtly Country aspects, think
about trims. They have yet to be explored in any
meaningful way, whether for print or pattern. And
then consider accents of cowboy chic, which takes
Vintage from its English roots into America during
the same time frame.
Also of note in Paris:
• Plaids grew in both traditional layouts and Geometrics were refreshed in laser-printed and ink-
abstract, scratched looks.
• Cartoon strips inspired decorative-accessory
and paper designs.
• Clock faces slipped off real timepieces and onto cellular patterns and razor-edge zigzags, as well as
walls, tables and more.
• Kilim rug designs strengthened.
• Cityscapes showed up too often to ignore.
• Florals did not grow, and probably declined.
™
represented, showcasing collections from England,
France, Italy, Spain, Portugal, Australia, and the U.S.
At the January event, bold-contemporary flow-
ers stole the show. The intriguing aspect of this
ascendance was the number of ways in which
those flowers could be rendered. For example,
Marcie Designs, a New York textile studio, featured
exquisite photo-realistic flowers superimposed
with bugs, shells, and butterflies. Mix publications,
based in the UK predicted botanical blossoms will
be hot, pointing to a return to overblown, realistic
renderings like those seen at the Stella McCartney
runway show.
blot patterns, some of which had a mirrored effect.
Portugal-born designer Ana Romero said, “ Balance
and symmetry are important right now because
they offer order and a new twist on classicism.” Her
70’s-inspired checkerboards that appeared to be
floating underwater, offered a multitude of textural
complexity and detail.
Text messaging was also in the mix, however it did
not look as utilitarian as it did the last time around.

thetrendcurve

That’s because looks had shifted to calligraphy and

script for a more flowing effect. Layering color and
hidden messages together were also popular, with
subliminal motifs in the background and decorative
Printsource New York pattern floating on the surface. Themes of travel

P
and destinations were abundant.
rintsource New York is a leading market for tex-
tile and surface design. Held in January, April, Southpaw, a vintage-fabric dealer based in New
and August each year, it is the main resource for York, showcased diverse ethnic designs. Among
thousands of apparel, home textile, wall covering, them were oversized Ikats, peasant blouses with
window fashions, kitchen, tabletop, bed and bath folk embroidery and blurred Indigo tie-dye that
and other applications. An international group of were already selling well. Bernini Studio Designs,
over 100 textile and surface-design companies are based in Italy, layered leopard prints with scattered

4 ©2011 MARKETING DIRECTIONS, INC. ANY REPRODUCTION OF THIS PUBLICATION IS A DIRECT VIOL ATION OF FEDER AL COPYRIGHT L AW. THIS INCLUDES,
BUT IS NOT LIMITED TO, COLOR COPYING, ANY OTHER PHOTOCOPYING OR FA XING, E-MAIL DISTRIBUTION OF COPY OR POSTING CONTENT ON THE INTERNET.
 Bernini’s animal spots morph
into flowers on a watercolor ground
flowers on watercolor backgrounds for an updated
tribal effect. Since animal prints, especially leop-
ard, are cycling back, now is the time to embrace
effects like watercolor as a means of differentiating
between updated trend patterns and basic looks
that are always there.
After surface design, details and embellishments
meant a lot at Printsource. In this category, pleats
were on a roll. They were described by Philippe
Bertrand of Woolworks International as, “the new
stripe,” influenced by the spring /summer collec-
tions in Brazil and Argentina.
Shimmer—in the form of sequins, pearl finishes,
and dusted metallic effects—was another embel-
lishment of note. It continued to offer sparkle, while
major bling became a thing of the past. This is
directional. Think accent or supporting role when
luster is the topic, all the while retaining it a key part
of 2012 – 2013 assortments.
Handcraft returned as the Heritage movement
gathered momentum. This advance was due in
great part to affordable labor in China, Vietnam
and Portugal that has made previously expensive
detailing available at more-moderate prices. Manu-
facturers shopped extensively for reference in this
category. They were eager to produce new crafted
combinations with stitches, quilting, and appliqué.
Other directions from Printsource:
• Chunky crochet, macramé, and fisherman’s-knit
sweaters stepped up.
• Patchwork evolved to a mash-up of high-tech
digital prints, reinterpreted with handwork and
embroidery.
• Granny lace, fringe, and vintage wall paperprints
shown by Lillyan Peditto, owner of “The Family
Jewels” vintage clothing and accessories company,
©2011 MARKETING DIRECTIONS, INC. ANY REPRODUCTION OF THIS PUBLICATION IS A DIRECT VIOL ATION OF FEDER AL COPYRIGHT L AW. THIS INCLUDES,
BUT IS NOT LIMITED TO, COLOR COPYING, ANY OTHER PHOTOCOPYING OR FA XING, E-MAIL DISTRIBUTION OF COPY OR POSTING CONTENT ON THE INTERNET.
Underwater effect for Ana Romero’s zigzag design
provided flea-market ambiance and inspiration for
bedding and bath products.
• The classic Channel suit still inspired a seasonal
Log on to the Members area at
round of boucle and chenille, updated this season
www.trendcurve.com to read
with speckled color accents. Tweeds of all kinds
will remain on-trend for the coming two years. about color from Printsource in
With so many simultaneous directions on the The Trend Curve Extra:
runway, trend forecasters were predicting a season Printsource Color.
to “create and stimulate.” Show director Massimo
Iacoboni summed it up this way, “It is a season to
embrace prints and pattern as a way to tell a story
that is both compelling and vibrant.” Needless to For more about pearl, includ-
say, Printsource does exactly that. ing The Trend Curve’s forecast
for the top pearl hues, see our
Cultured Pearls™ forecast at
http://tdcv.us/eaQUqd
Showtime Fabrics
A t Showtime, pattern stood out as a method
of providing clarification in design. Subjects
simplified, yet surfaces did not. That’s because
Texture was front and center in a
Celtic knot from Valdese Weavers
those straightforward patterns were balanced with
a complexity of textural yarns and elaborate weave
effects that made backgrounds fascinating.
The most-directional allover patterns were plaids,
which easily overtook last season’s top-performing
stripes. The appeal for plaids was found in less-
classic and more-casual layouts that featured
smaller scales and patterns broken up with twill
and chevron weaves. These additions gave plaids
not only a textural boost, but also lush and resort-
like feel. Stripes now followed plaids, with non-
mirrored sidewalk types newest.
Ikats were the other key design. Though no longer
5

Cartoon-like drawings with
paint splotches added a
whimsical touch at Adesal
Multicolored, complicated
combinations took a cue from
the vintage Mediterranean
ceramic, Majolica.
™
thetrendcurve
Log on to the Members area at
www.trendcurve.com to read
about color from Showtime in
The Trend Curve Extra:
Printsource Color.
6
new, they were not slowing down. Makers evolved the
look with cleaner sketches and softer, almost tonal
colorations. Meanwhile, well-established Suzani
motifs continued to step away from yesterday’s tribal
overtones and toward a transitional point of view,
becoming much less detailed in the process.
Motifs of note included paisleys, which were
cleaned up, modernized and, in some cases aus-
tere. Architectural motifs also took off as a source of
pattern inspiration. Cityscapes and exterior building
shots translated into designs with a turn-of-the-
last-century flavor that suggested a potential next
step after Vintage style has run its course.
For the moment, however, Vintage was the style
category everyone lined up behind at Showtime,
indicating that this look will continue through 2012.
Words were part of the story. They gained traction
in both English type and lyrical French script. Other
Vintage designs followed the expected trend, but
Adesal, as usual, stepped out of the box with car-
toon portraits that were worth a second look.
Other motifs:
• Postage stamps
• Postcards
• Fleur de lis
• Crests
• Diamond accents
The Vintage story relied on matte base cloths that
favored antiqued, distressed and aged personali-
ties. Patterns appeared faded and worn, as though
they had come from another generation. They
conveyed a visual texture meant to work with tactile
textures for an elevated level of fabric complexity.
The popularity of Vintage style was just one reason
why dry-hand fabrics were so popular. Cotton and
linen were emblematic of the matte looks that easily
eclipsed anything with luster. (Those fibers—pre-
dominantly polyesters, rayons and silks—were used
as exclamation-point accents in textured wovens.)
Metallic experienced a similar retreat; it was used
minimally, and in low proportion, to accentuate its
effect. Also of note at Showtime:
• Graffiti and paint splotches were part of a con-
temporary story.
• So were updated, deconstructed geometrics.
• Smaller scale patterns worked into framed-tra-
ditional jacquards, with more delicate and linear
artwork.
• Green design was not in the forefront as it has
been in previous seasons. Featured were organic
cotton and linen. Down on the list of importance
were recycled fibers like polyester.
©2011 MARKETING DIRECTIONS, INC. ANY REPRODUCTION OF THIS PUBLICATION IS A DIRECT VIOL ATION OF FEDER AL COPYRIGHT L AW. THIS INCLUDES,
BUT IS NOT LIMITED TO, COLOR COPYING, ANY OTHER PHOTOCOPYING OR FA XING, E-MAIL DISTRIBUTION OF COPY OR POSTING CONTENT ON THE INTERNET.
Atlanta Rug Market
W ith so much buzz about texture coming from
fabrics, it was not unexpected that defining
trend at the latest rug show in Atlanta also revolved
around this topic. While color took the high road—with
Gray-tinged, hard-times-influenced neutrals—and the
low road—with hopeful-for-better-times brights—tex-
ture took the main road. It became the “color” everyone
had on the floor. It was variously defined as over-the-
top shag that went beyond the last season’s mega-
textures, and finely constructed silky looks, featuring
pops of slightly heavier fiber accents.
Shag rugs were in their prime, evolving far beyond
merely retro-50’s styling. Their textures reached to
extremities as this style moved from its inherent
novelty to a more assured adolescence via:
• Many different sizes of yarn for big/small contrast.
• Mixing shiny synthetics with more matte wool.
• Novelty yarns from apparel applications.
• Sculptural effects achieved by using knit-yarn
tubes were common.
• Even denim fabric, cut into strips, came into play.
High/low effects continued the textural charge.
Case in point: the Calvin Klein Canyon collection
at Nourison. It combined a flat, sueded leather
background with lushly constructed wool pile.
Additionally, bulky cardigan sweaters became inspi-
ration for cardigan-like Soumak weaves in wool.
This menswear spin translated into subtly nuanced
stripes, plains and textures. And double-sided
Soumak weaves became even more complex at
Kalaty with one textured side appearing as accents
on the reverse flat woven side.
Pattern reflected the critical nature of texture for
rugs. Either rugs had no pattern (only accentuated
texture), or they used simple repeats that became
secondary to the texture. Small, cropped allover
patterns seen here took their cues from repetitive
apparel and home designs like checks, squares,
tattersals, ovals and diamonds. Like the simpli-
fied design elements from other cultures that were
coming on strong (think Greek keys, Portuguese,
Belgian and Dutch tile designs), hand drawn, ethnic
twists elevated these otherwise-predictable looks
from the realm of the mundane to make them stand
out as trend worthy. Other directions for pattern:
• Clean, pared-down Americana styles from early
1800’s emerged, especially basket weaves,
embroidery and overshot blanket looks.
• Perhaps inspired by mid-century modern, tie-dye
looks, whether actual or simulated marked new
territory.
 Designs by Due Process recalled Navajo ceramics
• Simple weaves were blown up to gigantic dimen-
sions, recalling the huge-scale damasks of a few
years ago.
• Larger-scale designs—whether traditional,
European, Persian, tribal, city, ethnic or something
else—were made transitional with neutral, muted
color palettes.
• Newest: Navajo designs that referenced ceramics
(think Maria Martinez, not rugs).
On the fiber front, wool continued it predominance
as the fiber of choice for rugs, particularly in tran-
sitional design. But this time, wool’s typical matte
finish was refined via spinning and washing to give
it a silkier and shinier appearance.
Silk itself remained as an accent in high-end
applications, while viscose, rayon, and bamboo
all stepped up as lustrous replacements. Loloi
combined viscose with finely constructed poly-
propylene to create detailed and, at the same time
deconstructed styles. This challenged conventional
notions of where luster can be applied. By contrast,
hemp, aloe, linen and sisal plant fibers dominated
casual, contemporary pieces by virtue of their dry
looks. Color notes from the Rug market:
• Bright colors punctuated color stories, includ-
ing Honeysuckle (Pantone’s color of the year for
2011), the bright accent of choice.
• However, this was the exception. Most hues
stayed safe and conservative.
• Multi-leveled Blues like Indigo, Delft and Sky
mixed with Beige and Gold for a restful play of
usable color.
©2011 MARKETING DIRECTIONS, INC. ANY REPRODUCTION OF THIS PUBLICATION IS A DIRECT VIOL ATION OF FEDER AL COPYRIGHT L AW. THIS INCLUDES,
BUT IS NOT LIMITED TO, COLOR COPYING, ANY OTHER PHOTOCOPYING OR FA XING, E-MAIL DISTRIBUTION OF COPY OR POSTING CONTENT ON THE INTERNET.
Kalaty’s double Soumak
Heimtextil Trends
H eimtextil, the huge international trade fair for
home textiles, was held in Frankfurt, Germany
in January. Jane Stockel, Editorial Correspondent
for The Trend Curve, highlights two of her favorite
trends from the show.
Homestyle:
Kitchen-towel designs, like windowpane grids,
clean stripes and open plaids established a foun-
dation for this style. Floral prints followed, looking
best in small-to-medium scales on clean grounds.
A tablecloth from Kokon Lifestyle Haus, with tiered
ruffles made up of different floral prints on White
grounds, recalled 1940’s kitchen aprons and the
strong influence of patchwork.
Sharda’s pieced-jeans rug.
But denim was the real Homestyle star. While Blues
of all kinds—from washed and chambray looks to
deep Indigos—played in the Homestyle sandbox,
the mid-tone color of jeans dominated. Whether
printed on sheeting for pillow shams for the high
end (Guy Laroche) or shown in dungaree-strength
fabric for everyday placemats (Pichler), the trend
was to look like the real deal.
Everyone knows that denim gets better with age.
So, it was no surprise that Sharda created an area
rug made from a patchwork of recycled jeans, com-
plete with stitching, belt loops, zippers, pockets
and tags. Note that the movement of patchwork
from bedding to the floor was another trend at
Heimtextil.
Lapland Lore:
At this year’s show, Folklore was a major new topic.
Specifically, imagery alluding to Lapland patterns
7

Atria’s Lapland-inspired pattern
(a region of extreme northern Europe including
northern Norway, Sweden, and Finland and the
Kola Peninsula of northwest Russia) was part of
the last word
T
his year, I wrote and edited the February
issue of The Trend Curve in my hotel room
at the Frankfurt, Germany Marriott. That’s
where I spent four days between the Maison
& Objet and Christmasworld trade fairs. It felt
extravagant to stay put when there are so many
worldwide shows to cover, but fortunately, my
team of Editorial Correspondents was in the
field, and we have covered all the events that
Members of our subscriber family have asked
us for.
I am staying longer than I typically do in Europe
because of a call I got from a subscriber late last
year. I was asked to extend my trend spotting
to Paperworld, which covers school and office
products, greeting cards and paper for home
and office, among other categories. We have
not covered this fair in the recent past, but
with enough time to plan an extension to my
European schedule, Paperworld was added to
the roster. Coverage will be included in the next
edition of The Trend Curve.
In this issue, long-time readers will notice the
addition of the Printsource show, focusing on
surface and textile design for apparel, home
textiles and paper goods. This is also a result of
a subscriber suggestion late last year.
The Trend Curve’s goal is to provide expert
trend insights about events that are important
©2011 MARKETING DIRECTIONS, INC. ANY REPRODUCTION OF THIS PUBLICATION IS A DIRECT VIOL ATION OF FEDER AL COPYRIGHT L AW. THIS INCLUDES,
BUT IS NOT LIMITED TO, COLOR COPYING, ANY OTHER PHOTOCOPYING OR FA XING, E-MAIL DISTRIBUTION OF COPY OR POSTING CONTENT ON THE INTERNET.
a shift in ethic sensibilities that took a giant step
away from today’s ikats.
Intricate floral and leaf designs, evocative of
embroideries, came with scalloped edges or
contrast-color outlines. They worked alone
or were confined within small, diamond or
hexagon-shaped geometrics in allover patterns.
Some were accented with hearts or circular
motifs that pushed them toward a Nordic Michelle Lamb
is the founder and chairman of
sensibility. In another approach, multi-colored Marketing Directions, Inc.,
blossoms were blown up and layered over publishers of The Trend Curve and
another pattern, adding to the complexity of the numerous special reports covering
design. This complexity was sometimes further major markets.
enhanced with watercolor appeal.
Marketing Directions, Inc.
Full, rich paisleys also played a part. Geometric informs national and international
stripes evocative of sweater-knits diamonds, manufacturers and retailers on
snowflake-like motifs and lines made up of tiny industry trends.
dots complete the story. The Trend Curve is published by
Marketing Directions, Inc. six times
yearly with information from major
markets and trade shows important
to the home furnishings industry.
Subscription is available at $199.00
per year when delivered within the
U.S., $269.00 for all other countries.
for Members of our subscriber family. With Back issues ($30 each) and custom
two requests for new shows coming so close publications are available.
together, it feels like now is the right time to
Marketing Directions, Inc.
reassess our entire line-up for the year. My team 14850 Scenic Heights Road
and I will be doing that in the next few weeks. Suite 155
Eden Prairie, MN 55344 USA
Will you help? Please tell us your top three mar-
kets or trade fairs. And tell us what we cover that (952) 893-1245
you no longer need. Sharing this information will
or call toll-free (800) 531-6614
Fax (952) 893-1264
help us do a better job for you.
E-mail: info@trendcurve.com
We are easy to reach, no matter how you would http://www.trendcurve.com
like to communicate this information:
The Trend Curve - ISSN#1080-1324
• Tell us via Twitter (we’re @TrendCurve)
Michelle Lamb
• “Friend” The Trend Curve on Facebook at: Editorial Director
http://tdcv.us/ttc-on-facebook
Editorial Correspondents:
• Connect with Michelle Lamb on LinkedIn. For Heimtextil: Jane Stockel
For PrintSource: Patricia Bouley
• Go to www.trendcurve.com and click Contact
For Showtime & Atlanta Rugs:
in the menu bar. Arthur Douglas Thayer
• Or if you feel chatty, Skype us (our username
While every effort has been made
is TheTrendCurve)... to provide accurate information,
• ...or dial our toll-free number: 800.531.6614. Marketing Directions, Inc. cannot
be held accountable for any error or
We hope to gather your input in the next two omission and there is no warranty or
weeks and have our revised editorial calendar representation, express or implied,
ready by mid-February. that the information provided in this
publication is definitive. Marketing
Thanks in advance for your comments! Directions, Inc. is not responsible
for any costs, expenses or damages,
actual or consequential, resulting
from the use of this information.