Wallpaper enters the 21st century.
From ideation to conceptualization to production, the specialists at Vescom work with customers to design and customize the digitally printed wallcoverings, with a choice of seven different surfaces, for a truly unique statement interior.
Wall covering gurus, Visual Magnetics, are no stranger to collaborations, as they’ve worked with the likes of Visibility, Dusen Dusen, and now with Design Milk, where they’ll be a huge part of our Milk Stand Popup shop at this year’s ICFF. Now, they’ve partnered with award-winning designer Jill Malek to launch Forces, a collection of visually stunning wall coverings for the workspace.
Besides bringing colorful patterns to the walls, this collection adds a layer of functionality. The wall coverings have a central strip of Visual Magnetics’ writable dry-erase surface sandwiched between them, elevating the look of any workspace.
The Innovations Design Studio (part of Innovations in Wallcoverings, Inc.) has selected the bold, rich shades of Sangria as their 2017 Color of the Year. Rather than one tone, the fluid colors of Sangria include a spectrum of purples, sweet berry to dark plum, that reflect the Design Studio’s organic creative process. The color of creativity, spirituality and royalty — purple is a natural progression from Prussian Blue, Innovations’ 2016 Color of the Year; Sangria combines the rich depth of blue with the vibrancy of red for a powerful shock of color.
Shades of Sangria will lead Innovations’ color selections in 2017, starting with new wallcoverings like art-inspired Watercolor, woven Barbizon and Type II vinyl Evolution, all of which will be available mid-February.
An intangible power emanates from the spaces in which we live and work. It touches and shapes our behavior, our perceptions, and our interactions. When designed well, a space can make you feel deeply appreciative (and, in my case, perhaps a little jealous) of the amazing people who can so artfully shape that kind of visceral experience. It was this same power that touched me when I made my first recruiting trip to California to join One Workplace as their Creative Director.
I knew I wanted to belong the moment I walked through the door. Perhaps it was the feeling of excitement from a long trip, or maybe it was jet lag, but something was happening. I sensed that I was much more than just a visitor to this place, and my gut told me this should be my home. Here was an organization that shared my values, spoke my language, and was doing the kind of work I wanted to be part of. I felt all of those things within the first few seconds of entering the office – before I had even met anyone.
Wallpaper might be an interior design trend that is coming back into style, but no matter how big it gets, wallpaper will never be as popular as it was in England in the 19th century. In fact, it's fair to say that during the Victorian era, Great Britain went wallpaper mad. Between 1834 and 1874, sales of wallpaper rose by more than 2,600%, resulting in more than 32 million rolls being sold every year. From the lower middle class to Buckingham Palace, everyone was covering their walls in garishly colorful rolls.
The technical innovation that gave rise to England's wallpaper fever? Arsenic. Or, rather, arsenic-based pigments that had suddenly made uniquely colorful wallpapers not just possible, but affordable to almost anyone. But such wallpapers could come at a far deeper cost than money: vomiting, diarrhea, convulsions, and even death. No one knows for certain how many people died because of arsenic poisoning in wallpaper, but thousands of possible cases were reported. A new book from Thames & Hudson, Bitten by Witch Fever, examines the uniquely beautiful—and uniquely deadly—wallpaper designs of the 19th century.