Optimism is the mood for spring 2018, and it is expressed with bold, confident and graphic colour-blocking treatments and a playful, happy design aesthetic. Maximalism of the 1970s is back, but it feels exciting and fresh. The new appeal of the decade of disco, macramé and maximalism may live in the comfort of nostalgia and in people’s need in uncertain times to wrap themselves up in the warm hug of texture and pattern.
Unbridled embellishment is everywhere, including the graduated shading of Ombre, and in more unique treatments including wallpapers, mirrors and marquetry . . . think fringing on furniture and window treatments for true 70’s glam. Globalisation is shrinking difference and distance. Consumers are well travelled and informed and want to show it in their homes. Technology makes everything only a click away. It’s the joyful optimism at the heart of this aesthetic that’s the hero of this new take on the movement.
Biophilia shows no sign of decline – our desire to seek a connection with nature is strong. Think of a profusion of verdant colours inspired by lush foliage. At the Salon Del Mobile earlier this year the integration of plants into installations, furniture and lighting was a strong theme. This follows through with the seamless integration of technology around the home. Kartell’s hybrid I-table transforms from a desk to a cooktop. There is a deeper focus on sustainability, recycling and ethically sourced materials, with the emergence of the circular economy that embraces regenerating products to create less waste.
Our transition to more conscious living is reflected in the increasing relevance of green and earth tones. We are still embracing richer palettes, wine reds, dark burgundy, saturated cassis, earthy pink ochres, comforting earthy shades of clay, rust and amber. Timeless beige, minimal grey and linen are coming back as neutral tones to balance alongside the flame reds, richer terracotta, deep blues and water reflection greens and chartreuse.
The alternative palette to this is gentle pastels and self-assured neutrals – warm cottons, pale gold, fleshy neutrals, dusky pinks and rose, hemp and pale bronze, desert sage and stonewash blue. These colours sit back; they are soft and quietly composed.
Minimalism’s new movement is combining the traditional elegance of Japanese culture with the modern Scandi noir aesthetic – ‘Japandi’. Japan’s sleek and rich colour palette, refined elegance and curves, and accents with screens and vases is a contrast with Scandi rustic details and neutral colours, relaxed farmhouse flair, and accents with blankets, throw pillows and rugs.
Voluptuous proportions, playful shapes and an almost human embrace of comfort and softness from marshmallow-like armchairs. The new silhouette is a very circular form.
The rise in natural stone, including the tactile texture of travertine and continued prevalence of boldly pigmented, richly veined marbles, used in in fresh and inspiring treatments, along with transparency in the form of delicately coloured and sculpted glass.
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