American Design Today

AMERICAN DESIGN

TODAY EDITOR’S LETTER 2 From top left: a A oiling Herman employee Miller the for shell plywood molded Eames lounge, circainside 1960; Casa PerfectYork; New vases by Elyse Graham , passionate proponent of [email protected] Editor, AD PRO Editor, —Katy Olson Until next time, Alhadeff contemporary design, to engage in a friendly chat with classics-minded Aerin Lauder on the state the of industry—past and present. All with the goal offering of a deeper glimpse into what’s trending right and now in the months to come. ’s senior’s ? For AD PRO, it’s AD? For it’s PRO, We get James “Ford”. We to share his current favorite We also takeWe a walk down memory design editor Hannah Martin schools us on the history the of indelible Eames Lounge Chair Huniford sourcing spots—all Stateside. And enlistwe The Future Perfect’s David What does the phrase the phrase What does design” “American you? for conjure A Made in label; USA twice-yearly pilgrimages to High Point, North Carolina; crafts made hand; by industries that nurture their local communities; or perhaps a legacy story starring creative forces likethe Eameses all this and then some. Hot on the heels October’sof High Point Market, the AD AmericanPRO Design Trend Now Report isn’t only devoted to the country’s favorite furniture fair—though indeed have we selected our 50 favorite picks, no small feat given the thousands pieces of that appear each season. lane as Architectural Digest COVER IMAGE: JAMIE CHUNG/TRUNK ARCHIVE. CLOCKWISE FROM TOP: COURTESY OF OF COURTESY TOP: FROM CLOCKWISE CHUNG/TRUNK ARCHIVE. JAMIE IMAGE: COVER LANGDON. PILOTTI GABRIELLE BOHLER; PETER FRIEDMAN; DOUGLAS INC.; MILLER, HERMAN THE LATEST 3 - - 3 ’s Pillar ’s bedroom furni 4 ’s simple brass’s light fixtures (3) Herman Miller 2 pragmatically given this piece a dual iden tity ensuring by that it can also function as a desk. Striking similar aesthetic chords are Allied Maker and ture collection Michael by Anastassiades (1), both which of would make any warm-wooded home glow. - - ’s .’s Com 3. STEVEN RUSSELL; ALL OTHERS COURTESY OF RESPECTIVE COMPANIES RESPECTIVE OF COURTESY OTHERS ALL RUSSELL; STEVEN 3.

PRODUCTS ecologicalMagma mirrors inspired (4), by volcanic rock. Sustainably constructed in terms its of wood sourcingis Dims First among equals may be Mastrangelo posed Vanity (2)—a far cry from the ornate and undeniablyfeminine vanities yester-cen of tury, designed Ladies by & Gentleman Studio. What is more, the California company has 1

- - BY MADELEINE LUCKEL MADELEINE BY STREAM LINESSTREAM This season, seemingly simple shapes simple shapes seemingly This season, rise to the top of a contemporary crop a contemporary of the top rise to IT IS A COMMON MISCONCEPTION THAT trangelo are bringing forth designs that are as streamlined in silhouette as they are punctu ated with incisive, decorative detail. Americans are wont to supersize just about anything—sofas and fabric pattern repeats included. the idea Yet conveniently glosses a seriesover interlocking, of enduring undercurrents: the history sportswear, of modernism, and an abiding form for that love function.follows This season, creative forces from established brands like Herman Miller to cutting-edge designers like Fernando Mas THE LATEST

CAPSULES Elsewhere, international inflections color two new U.S.-born tabletop capsules: L’Objet, long associated with

finery and not, as its name implies, 4 French, is out with a collection of nature-themed trays (8) and plates, a delicate line produced in white and gold, and blue and gold, some of the New York purveyor’s quintessential colorways. But it is Dallas-based Mi Golondrina’s Cabana collaboration (9) that may truly make for the dining experience of dreams. The line looks south of Texas in order to marry techniques 5 7 characteristic of two Mexican towns, San Vicente Coatlán’s cross-stitches and Aguacatenango’s ornate floral EXHIBITIONS embroidery. Beyond furniture launches, curatorially informed presentations are also making waves this season. Grappling with a time span far beyond that of midcentury the Haas Brothers’ beast chair and modernism is Egg Collective’s “Tem- stool (7) will no doubt strike fear in the poral Arrangements” exhibition (5). hearts of happenstance visitors—unlike With works by Rodger Stevens, Amy Justina Blakeney’s hexagonal egret tile GROW ON Ralph Lauren is synony- Kim Keeler, Jenna Westra, Simone for Granada Tile (6), which is the pic- mous with classic American Bodmer-Turner, and Jeff Martin, it is ture of poise and peace. style—so it’s no surprise that a tour de force investigation of how art- its home line would find eter- ists translate ideas of time into raw and nal inspiration in the natural fully rendered designs. And at Char- 9 world. Two bucolic and lotte, North Carolina’s SOCO Gallery, botanical product launches are a testament to that fact. 8 Unfurling peonies and gar- den vines appear in verdant green for the first time as part of Ralph Lauren Home’s Burleigh collaboration, so lushly realized you’ll be while palm-frond-festooned transported to a mildly Gwendolyn bedding is breezy Florida day.

5) ANGELA HAU. 6) COURTESY OF THE JUNGALOW. 7) TIM HANS. 9) KELSEY WILSON ALL OTHERS COURTESY OF RESPECTIVE COMPANIES 2 TRENDS 50 HIGH POINT

50 FINDS FROM 5 HIGH POINT 3 LIKE CLOCKWORK EACH OCTOBER, DESIGNERS DESCEND ON HIGH POINT, 6 4 North Carolina, the veritable capital of the American furniture industry. AD PRO’s senior style and market editor Benjamin Reynaert shares his top 50 picks from this season’s market.

1 Tuck bench 5 Croix accent ta- by Ray Booth ble by Theodore Alexander Collection for Arteriors 6 Leighton buffet 2 Painted stripe lamp by Cou- wool-hooked ture Lamps rug by Rifle Paper Co. for 7 Indigo box set 9 Loloi by Currey & Company 3 Kingali Grande chandelier 8 Hokulele by Currey & side table by Company Nicole Hollis for McGuire 4 Modern Strokes Large 9 Yves chair by 1 by Thom Mitchell Gold + Filicia Home Bob Williams Collection for 8 5 Wendover Art 10 Delaney dinner- Group ware by Blue Pheasant

10 ALL IMAGES COURTESY OF RESPECTIVE COMPANIES TRENDS 50 HIGH POINT

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1 Janison trays by 6 Ness wall Made Goods mirror by Alexa Hampton for 2 Luna table Theodore lamp by South Alexander + English 7 Chad side table 3 Grace side by Hable for table by Blue Hickory Chair Print Collection 8 Montholier 4 Franchetti chair by Alfonso chaise longue Marina by South + English 9 Blythe lantern by Bunny Wil- 5 Wildwood liams for Currey pillow by Rifle & Company Paper Co. for Loloi 10 Mod vases by Ray Booth Collection for 8 Arteriors

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1 Tremont sofa by 6 Mardi Gras vase Ralph Lauren set by Currey & Home Company

2 Formation 7 Florence chair 4 by Thom by Michael Filicia Home Berman for Collection for Kravet Wendover Art Group 8 Tom-Tom nest- ing tables by 3 Gem Modern Thomas O’Brien Branch for Century chandelier by Furniture Hammerton Studio 9 Flynn stool by 10 Hable for 4 Rainey duvet Hickory Chair 8 cover by Ralph Lauren Home 10 Casablanca mirror by Ro 5 Corenne chair Sham Beaux 9 by Made Goods 3 TRENDS 50 HIGH POINT

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1 Campbell 6 Chelle chair dining chair by Cara Wood- by Blue Print house x Nathan Collection Anthony Furniture 2 Artiste light fixture by Currey 7 Reeded cock- & Company tail table by Barbara Barry 3 Marie chande- for McGuire lier by Ro Sham Beaux 8 Roberto table lamp by Ro 4 Whippet Panel Sham Beaux 2 by Thom Filicia Home 9 Evie side Collection for table by Alexa Wendover Art Hampton for Group Theodore Alexander 5 Meredith cabinet by 8 10 Modern Bau- Bungalow 5 haus dresser canister by 10 TOB/Aero 9 4 TRENDS 50 HIGH POINT

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1 Hastings medi- 6 Hexagon um floor lamp martini table by Carrier and by Miranda Company for Kerr Home Visual Comfort for Universal Furniture 2 Myles cocktail table by Made 7 Walter Lamb Goods rocking chair by Brown Jordan 3 Rhodos chandelier by 8 Lorentz end Martyn Law- table by Nicole rence Bullard Hollis for Mc- for Corbett Guire Lighting 9 Melrose desk by South + English 9 4 Lumina by New Moon 10 Janelle Ink set- 5 Buttercup chair tee by Currey & 10 by Nathan An- Company thony Furniture SOURCING STATESIDE 10

From left: Breakfast banquette with table from Paula Ruben- stein and pottery from Ron Sharkey; living room with sofa fabric from Nantucket Looms and leather throw pillows and James “Ford” Huniford, NANTUCKET LOOMS glass jar from Lynn Worden; “Nantucket Looms features the work and twin bedroom with blankets from Laura Fisher. All rooms by of Huniford Design Studio, of incredible artisans and craftsmen Huniford Design Studio. producing in a traditional Ameri- divulges some of his can medium. They are master weavers, but they also work with local artisans—basket weavers, potters, painters, carvers—to cre- favorite Stateside sources ate amazing, timeless objects. I also love LYNN WORDEN Tara Chapas, of Chapas Textiles—another “I met Lynn at an antique incredible weaver I’ve worked with.” nan- fair in Rhinebeck. A tucketlooms.com; chapastextiles.com seller of what she calls PAULA RUBENSTEIN RON SHARKEY ‘interesting objects’ “Paula and I share an approach “Ron is a talented dealer in upstate LAURA FISHER of all kinds as well as in which form is more important 2 New York who lives in a pastoral “An expert in antique Amer- an antiques dealer, than origin. We both combine setting amid fruit trees and work- icana and textiles, Laura she has an incredible pieces not because they come ing farms. His ever expanding collection of is a writer and lecturer as sensibility for the Mid- from the same country or time cupboards, benches, signs, doors, and more well as a dealer. She has west. Lynn sees spaces period but because they harmo- displays the same feeling of early American written about Amish art, as a blank canvas and the objects as ‘paint.’ nize aesthetically here and now. simplicity. He discovers unusual architec- American folk art, Amer- Industrial and sculptural objects share She has a unique eye and pas- tural found objects that translate well to city 4ican quilts, and many other subjects. She equal status with furniture, and patination sion for American objects and or country. He eschews pattern and color for collects and sells antique and vintage counts as a blessing. Surprise discovery: I sensibility. Surprise discov- the most part, so pieces work equally well in quilts, hooked rugs, woven rag carpets, and made a top for a galvanized planter I bought ery: a pair of car jacks I turned into lamps.” a farmhouse as in an uptown apartment.” braided rugs—all of extraordinary quality.” from Lynn and used it as a side table.” paularubenstein.com instagram.com/ronsharkey laurafisherquilts.com wordenselectobjects.com

FROM LEFT: MAX KIM BE (2); PIETER ESTERSOHN ANATOMY OF AN OBJECT 11 - - - in Durham, in and irregular in January 2020. Columbus State University the goal of creating lively, PROCESS USED TECHNIQUES MATERIALS HOURS OF WORK NUMBER OF STITCHES WHERE YOU’LL FIND IT “I create piles of fabrics on my stu dio floor, like a painter’s palette, together. colors put intuitively and Depending on the amount of col ors, I compose a loose composition using color as a structural element, with geometries off-kilter symmetries.” piecing,Machine basting, hand binding. and quilting, cotton, corduroy, Seersucker, largely fabrics polyester and linen, sourced thrift from shops North Pine, Spruce and Raleigh, Carolina. 50–60 total Patchwork (front and back): 12–15 Basting: 3 Quilting: 35–40 Binding: 3 30,000 Nearly Exhibited in a solo exhibition atNew York’s Elizabeth Harris Gallery this past March. Appearing in a forth coming exhibition

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I - - GIA, -

It was . A practical look at a one-of-a-kind quilt a one-of-a-kind at look A practical —daughter a shirt of , but once I saw the

HISTORY INSPIRATION PRICE NAME RAISED IN COLUMBUS, GEOR COLUMBUS, RAISED IN of herof latest works. textile artist. Clippinger wel comes AD into PRO the with fold an in-depth look at one salesman, granddaughter of of granddaughter salesman, a quilter, and descendant of cotton-mill nearly workers—was predestined to become a tahoochee River, Martha Clippinger rience for me for rience process.”ing Gee’s Bend quilt exhibition at the Whitney in 2002, I realized quilt making could be a much more excit not a particularly pleasurable expe pleasurable particularly a not “I made my first quilt in 2000, from my father’s shirt fabric swatches. Each square was carefully cut to size so that their edges would line up and make an even grid rated colors with lighter ones, this in case, the burnt oranges and reds combine to and blues, pale the with polyester, corduroy, textures like seersucker.” and like to blend together highly satu “This quilt was really inspired by the textures. and colors their fabrics, $2,500 Slip StackSlip a textile town on the Chat PHOTO: ADAM REICH ADAM PHOTO: STUDIO VISIT 12 - - - - - Jesse Jesse Chandeliers, sconces, Chandeliers, floor and pendants, and Carrier lamps: Interior’s Company lighting collection Comfort, Visual with Circa at launching Lighting Visual and Comfort showrooms this season, casts a net. wide a New Line a New We startWe with history, looking back of Carrier of and Company Interiors The most challenging aspect was

It was surprising to see quickly how Most often, the process out plays like EXPANDING THEIR FIRST LIGHTING LINE FOR FOR LINE LIGHTING FIRST THEIR EXPANDING ture, and even jewelry. JESSE: a game cards: of both We’ll propose ideas, sometimes from a museum, an auction, or a wonderful reference book. It might be as simple as a shape, or an incredible finish sample. Sometimes those ideas spark and might even cross-pollinate, combining dis parate ideas and languages to form unique a point view. of On the Challenges of Designing MARA: often falling in with love an idea and then having to jettison it. JESSE: the collections grew and morphed into so many different types fixtures. of exam For ple, if our original design was a pendant, for the how design could transfer tosconces, sur face mount, and table lamp seamlessly. Visual Comfort, small a offering debuted in the spring, and expanded upon this fall, part ners in and work life Mara Miller and Carrier share insights on inspiration, process, and stumbling blocks to creativity. On Inspiration MARA: to look forward, inspired antiques, by sculp Comfort, Comfort, new lines new and Mara and Mara for Visual Visual for Miller tell Miller Jesse Carrier Jesse Carrier Carrier all on Carrier debuting now debuting and Company’s and Company’s PHOTOGRAPHY BY MAX BURKHALTER; PRODUCTS COURTESY OF VISUAL COMFORT VISUAL OF COURTESY PRODUCTS BURKHALTER; MAX BY PHOTOGRAPHY STUDIO VISIT 13 for the Hastings floor In their New York studio, Mara share Carrier Jesse and Miller their process—from sketch to final product— lamp in black, shown here. - - - There has to be mutual admiration Hastings reading lamp and Cadence We prefer classicWe metals like soft

Hastings pendant large and Cadence : Partnerships lantern. On Their Pieces Favorite JESSE brass and polished modernized nickel. We the Hastings line with matte white and black lac quers, andadded patina tothe Cadence family with antiqued mirrored glass. JESSE: promising design. On Go-to Materials ner with a brand, like Visual Comfort or Century Furniture. partnered We’ve with family-owned businesses, like our own, that are committed to quality, service, and uncom On MARA: table lamp. MARA: and shared point view of before part we 14 OBJECT LESSON

Why the Eames lounge chair 1955 to Charles that they kept “testing and going to sleep in it!” Soon the now famous is the quintessential Eames lounge and ottoman, produced by Herman Miller and later licensed to Vitra for American object the European and Middle Eastern markets, BY HANNAH MARTIN was broadcast into Americans’ living rooms via NBC’s popular Home show, and audiences loved it. Filmmaker Billy Wilder got an early AT THE HEIGHT OF AMERICA’S MODERNISM version, and the piece has since been sat upon craze, in the 1950s, designer couple Charles by everyone from boxer Muhammad Ali to and Ray Eames were contemplating mat- tech titans Steve Jobs and Bill Gates. Design ters of comfort. They wanted the warm, lounge chair, came to be. Designer friends lovers today find them just as relevant. For- receptive look of a first baseman’s glove, a Don Albinson and Alexander Girard helped mer GQ design director Fred Woodward cushy English club chair re-envisioned for with conceptualizing and prototyping; the has one in his glass house in upstate New the future. They revisited their research for Eameses cut the shell into pieces, outfitted York, while Kinder Modern’s Lora Apple- MoMA’s Organic Design in Home Furnish- them with leather cushions, and attached ton has reupholstered her grandfather’s with ings competition. Colleagues at Cranbrook them to an aluminum base adapted from a printed linen that she says “felt more me.” Academy of Art, Charles Eames and Eero their molded plastic chair. Ray reported in Although the Eameses were known for their Saarinen had experimented with molded democratic designs, this piece, which cost plywood for mass production, heating $578 in 1956 and starts at $5,295 now, was not stack laminated wood and sculpting it into a one of them. It was a luxury item. “In the mid- “lounging shape.” The design won, but pro- 1950s, Americans wanted a bit of luxury, but duction stalled. And while Charles and Ray luxury that wasn’t frivolous,” explains Amy used the technology for their LCW chair and Auscherman, archivist at Herman Miller. now collectible splints for the U.S. navy, it “The lounge and ottoman were the per- wasn’t until 1956 that their original goal, a fect marriage of comfort and innovation.” While originals were made of Brazilian rosewood, with down-stuffed cushions swathed in supple black-glove leather (“Ray really loved Hermès gloves,” says Auscherman), the Eameses later traded the über-luxe details for sustainable materials, built to last—stronger leather, and Palisander wood rather than now-protected rosewood. As the lounges became a fixture of offices and commercial spaces, Herman Miller intro- From left: a lounge and ottoman in Fred Wood- duced a COM option for the cushions and a ward’s home, decorated by Brad Dunning; Herman Miller’s Eames lounge and ottoman; choice of wood finishes for the shell, though a Herman Miller employee oiling a molded ply- Auscherman admits, “If it were up to Charles wood shell for the lounge and ottoman, c. 1960 and Ray, you would order black leather and rosewood.”

FROM LEFT: FRANCOIS DISCHINGER; COURTESY OF HERMAN MILLER, INC. (2) Two American design stars sound it out

She’s the founder of classic lifestyle brand Aerin and scion of Estée Lauder Companies. He’s the founder of the boundary-busting contemporary design gallery The Future Per- fect. Here, Aerin Lauder and David Alhadeff dis- cuss the full spectrum of American design. IN CONVERSATION AERIN LAUDER: David, which designers did you look up to early in A.L.: I never worked with Mark Hampton, but I loved his sense of your career—and who inspires you now? style and luxury. He was my grandmother’s favorite designer. Many of the rooms in my home remain almost exactly the same as he had DAVID ALHADEFF: I’m always inspired by the designers I know the originally designed them for Estée. I keep them as a dedication to least about. I’ve always been intrigued by the clients who don’t have two very talented people. Currently, I am so inspired by the work that a website or don’t seem to have a lot of published work. I always want Carolina Irving is doing. I love the way she mixes fabrics, colors, and to see what I’m not supposed to see. And as for my favorite historical textures with an ode to femininity and florals. Carolina also recently American designer? These days I’m obsessing over J.B. Blunk and launched a beautiful tabletop collection with her daughters. Wharton Esherick. What about you? Who are the interior designers you haven’t worked with, but you’re intrigued by or watching right now? D.A.: Do you have a specific memory or image that helped you shape your aesthetic? 15

FROM LEFT: SILJA MAGG; DOUGLAS FRIEDMAN IN CONVERSATION 16 - - Aerin Lauder’s New York residence Environmental sustainability. I am home runs, but am I still proud always the of creation. On that note, what is one your of primary concerns or challenges in the design realm today? do face you How it? D.A.: really concerned with our carbon footprint and the impact our industry has on the envi ronment. seem We to be doing better than but thereever, are still strides can we make. example, For California recently passed reg ulations the for use fire of retardants in foam upholsteredfor furniture. This forced us to recognize this concern and address it. The project has been painful, but the net result is that are we working now with materials free from carcinogenic retardants. will I only work with sustainably harvested woods. I’m especiallynow concerned about the use of stone and marble; I think, a lot about now, thesehow are fragile and finite resources…. needWe to be responsible that what create we is heirloom of quality. - - I entertain more casually than my Tell me about a challenge—a place where Speaking the of home, what rules for A few of the of A few fragrances that cre we’ve D.A.: design or entertaining that grew you up with broken from? you have away A.L.: mother and grandmother. my dinner I love in the kitchen orcasual a summer dinner on the beach. Whenever Estée entertained it was always so glamorous and stylish. Whether she was having a large dinner party or serving breakfast at her kitchen table, Estée always paid attention to every little detail. This was something that guests always remembered and has very much inspired the I enter way tain. Although I am often much more casual, I think important it’s to create a memorable experience. D.A.: thoughtyou had you stumbled, but perhaps opened a new unexpected door? A.L.: been necessarily Beauty Aerin haven’t for ated - accessories are true my passion…. I realized that when the modern woman thinks about beauty, she sees beauty as an extension of herself, her home, her wardrobe and her trav els.Therefore, beauty and home should live together. - - I love the I love sense Old World of Growing favorite my up, movie was New York, baby! seems It New York, super obvi Beauty is heritage, my but home and Casa Perfect New York, the con New in gallery design temporary Village West York’s ous, and I deliberated, ’cause I spend a lot of time in California, and in most some I’m ways comfortable there. But in the end, work my is wholly inspired get it. You New York. by where It’s and you your company are based, after all. did how So, decide you to segue from beauty into home decor? A.L.: D.A.: Rom an Holi d ay. elegance, style, and fantasy. Is there a place that your is work most inspired by? A.L.: CLOCKWISE FROM LEFT: DOUGLAS FRIEDMAN (2); (2); FRIEDMAN DOUGLAS LEFT: FROM CLOCKWISE (2) LUND MARK ACE ARTISANS 17 - -

utilitarian. It wasn’t an expression of It was builtego. out necessityof and a sense belonging of to the na of world ture. getting we’re further from away making things by hand unless it’s useless stuff. I feel that important it’s peoplefor to be involved in making things solid rather than just on the computer.” nakashimawood workers.com in. It would get to the point that to stop have they’d me from using up all the materials. I just wanted to make. That has informed me tothis thatday, I don’t to specializehave in just one thing.” enkeeceramics.com Denise of Shakerof design because it was basic and simple and 2

- McKenzie-Lee ma], the term craft meant making something that was by carefully useful, hand. Dad was fond “To my father my “To Nakashi [George brought back from Tulum—and use it to create something interesting. think I back to having art class in school: Macramé, papier- mâché, all the things I got to hands my involve Mira Mira Nakashima 3 “Craft, to me, is the creative process of using hands my and found objects to createthe textures that I usually I love. inwork porcelain or stoneware, and I ingo using different tools or found objects—pieces of metal, a vintage baker’s paddle, textured rocks CLOCKWISE FROM LEFT: MARK JULIANA; MICHAELA CRIE STONE (2); ENKEE CERAMICS (2); NAKASHIMA WOODWORKERS (2) WOODWORKERS NAKASHIMA (2); CERAMICS ENKEE (2); STONE CRIE MICHAELA JULIANA; MARK LEFT: FROM CLOCKWISE

- I’ve come I’ve up against andover over again is that people often devalue something when functional,it’s even though often it’s harder to make. think You’d you’d want to invest more in those objects. oversaturatedWe’re with products in this and country, comes work my from an inherent drive to make things well and to make things that will last, to combat consumerism.” michaelacstone.com W within a particular design tradition. So much American of culture is a melting pot, so there’s less pressure to stay within one tradition. I’m always thinking about we how define art, design, and craft, and I see themediums to beginning Oneoverlap. truth Michaela Crie Stone Crie “In other countries, there seems to be a pressure to stay AN EMPHASIS ON FUNCTIONALITY, CRAFTSMANSHIP AND NATURAL CRAFTSMANSHIP AND FUNCTIONALITY, ON EMPHASIS AN materials was a mainstay the of 20th century’s American Arts and Crafts movement, an ethos upheld the by likes Sam of Maloof, Whar ton Esherick, and George Nakashima.tenets core movement’s The prevail, but leading designers’ points view of shifted. have What’s the state American of craft today? let We’ll her tell you. BY MEL STUDACH 1

to know now to know makers you need you makers 6 modern 6 modern ACE ARTISANS

4 For me, it is less our metalwork American per se, about American as and finishing I know that I am an abstract concept is done locally. affected by my and more about We are part of a surroundings and local community, much wider global friendships, and about doing my network than ever the work is an extension of that.”

part to maintain before, but there 18 the network is still something becbrittain.com Bec Brittain and learned important about knowledge of the local community “My father was a maker’s tradition. and shared furniture maker and We assemble resources. While carpenter, and my everything at the I don’t think of mother is a painter. studio, and all of my work as being

“We started off people have lost production of our to bring back the as architecture an understanding products in the knowledge base of students and then of what it means most thoughtfully craft in America fell in love with the to buy furniture local and highly and to make 6 woodshop and the of value, what it crafted manner products that will process of making. means to make possible. It’s a be long-lasting.” “A few years back, To us, the act of an investment in reactionary pursuit eggcollective.com we designed a making and the furniture. mirror made of act of designing Having grown meta-material, are one and the up amid the a composite same; they are in disposability and resin that we’ve Elyse conversation with mass consumerism created. The frame one another. When of the ’80s and ’90s, was composed you understand the we think about the completely of recast Graham provenance, and the cutoffs from our labor and quality earlier work—so I of materials in it, could look at the way. Curiosity has happening in there’s a greater mirror and see pushed us down this American design relationship one parts from past path. For years, right now is that can have with that projects. It’s a fun there was a barrier the rules are being object. A lot of way of storytelling between art and put aside, and the and also being able design, a stigma doors are open to reduce our waste; on anyone who to nontraditional there’s a patchwork- made something designers Egg Collective quilt aspect to functional as an designing.” 5 the work in that artist. What’s elysegraham.com

CLOCKWISE FROM TOP LEFT: COURTESY BEC BRITTAIN STUDIO; JESSE DITTMAR; PETER BOHLER (2); HANNAH WHITAKER; EMILY ANDREWS POP QUIZ POP AD PRO quizzes top designers on what American design means to them. BY DANINE ALATI 19

Miles Redd and David Kaihoi Amy Lau Keia McSwain Scot Meacham Wood Principals, Redd Kaihoi Founder, Amy Lau Design Principal, Kimberly + Cameron Interiors Founder, Scot Meacham Wood Home

Define Crisp, comfortable—M.R. Unafraid—D.K. Classic, functional, individual,timeless, American style in Bold, unapologetic, revolutionary Bold and inventive and warm 5 words or less

The Favorite U.S. histori- American American Studio Craft Movement Hardwood flooring Mid-19th-century hand-carved furniture cal design trend flag —M.R.

The most patriotic Navy blue—D.K. Antique white Black Dark, inky navy blue paint color

Most beloved Amuneal, a custom American Leather and Schumacher—D.K. Why, Ralph Lauren, of course! U.S.-based brand fabrication company Baker are tied!

Favored American Albert Billy Baldwin (the perfect mix of restraint Louis Comfort Tiffany Kimberly Ward designer of the past Hadley—M.R. and exuberance)

Favorite American designer Stephen Sills—M.R. Alexandra Champalimaud Veronica Solomon Miles Redd working today

Worst design 1980s glass-brick walls Hollow-core doors—M.R. Papered accent walls Bedroom-furniture suites trend or innovation and windows

Choice Stateside My late dear friend and mentor Vladimir Valerie Louis of Agustin Hurtado—M.R. Schumacher maker or artisan Kagan Yaël & Valérie

Biggest challenge Consumer with Champagne taste on a Guaranteeing great to domestic Access to and pricing of natural materials beer budget—D.K. quality Transportation manufacturing

Boom Boom Room at the The family Favorite A classically styled American room Standard Hotel —M.R. room Cookie Lyon’s place from Empire formal dining room

PORTRAITS FROM LEFT: RYAN BURKE; MARK SELIGER; WILL STERLING; NICOLAS SMITH IMAGES FROM LEFT: JONATHAN REHG/GETTY IMAGES; SLIM AARONS /STRINGER/GETTY IMAGES; JOE SCHILDHORN/PATRICK MCMULLAN/GETTY IMAGES; JAMES L. AMOS/CORBIS/GETTY IMAGES; FOX/GETTY IMAGES; ADÉL BÉKEFI/GETTY IMAGES