Filling A Design Need

The results of designing a merchandise collection for the interiors market has always proved more successful for me when I have discovered a distinct absence of a particular product in the field rather than when I simply harbor a desire to create. My furniture collection for Edward Ferrell + Lewis Mittman began as I kept nudging Steve Mittman to cut off the scroll of this chair, alter the feet on that St. Thomas sofa, square off this coffee table or introduce bleached walnut veneers to that credenza. I believe he simply grew exhausted by my badgering him and finally retorted, “Well, if you think you can do better, design your own line.”I leapt at the chance. It was like Niagara Falls for me. For years I had searched out, but could not find, transitional bedside tables, coffee tables, consoles or upholstery that bridged the traditional worlds of English continental antiques and the harder-edged, cleaner-lined contemporary world.

I also needed, in my interiors, furnishings that did not steal thunder from the rest of the room’s décor, but like supporting actors in a play enhanced the stars and rounded out the overall production. This approach succeeded. Nearly two decades later, filling in the absences and identifying the supporting furniture players has proved to be singlehandedly EF+LM’s most successful designer collection.

The other side of designing a successful collection is understanding the materials, the construction process, manufacturing capabilities, timing and the production. With Steve Mittman, I found an enthusiastic collaborator and mentor who carefully, cautiously and thoroughly guided me through these processes.

More recently, I discovered an absence in the world of textiles, specifically the limited world of outdoor carpeting. The need has grown and is increasing in part due to the advances made in window and door technology. Large, stable expanses of hurricane-proof glass are now available to architects and builders who have zealously embraced the concept of rolling back huge windows and doors.

These open expanses provide interior rooms that are completely exposed to the outdoor elements. This places demands on designers to provide attractive all-weather fabrics and rugs in custom sizes. In addition, the popularity of outdoor kitchens, outdoor bedrooms and outdoor playrooms has soared along with the demand for well-designed outdoor, all-weather carpet that performs well, is soft to the touch and exhibits some design panache.

At the same time all of this was occurring, my Swedish client acquired land on the big Island of Hawaii, and the architect has sketched up gathering spaces and private bedrooms that are entirely exposed or could easily become exposed to all weather conditions. To knit together my client’s Swedish aesthetics, the rugged, modern architecture, the Hawaiian palette, and the need for upbeat patterning on plain flooring, I turned to the inspirational Scandinavian textiles of the mid-20th century.

Similar to the current preferences for steel, glass and simple planar surfaces in our residential structures, the mid-century modern architecture stripped away decorative detail in favor of clean lines. However, the stripping of detail created spaces that could feel cold, institutional and remote. With their interiors devoid of conventional warmth, modernist titans such as Corbusier, Eames and Frank Lloyd Wright rushed to clothe their masterpieces in textiles that complemented aesthetically the sparseness they favored. The folkloric motifs woven into the Scandinavian rugs conformed with their lean, guiding principles. With the joyful patterns of checks, stripes, zigzags, stars and dots, the highly inventive, slightly naïve rugs from Scandinavia lightened and brightened the ofttimes severely linear homes.

Mid-century designers from other nations may have drawn inspiration from sub-Saharan primitive masks, pre-Columbian motifs and the American Indian tribal rugs, but none seemed so effortlessly buoyant and non-threateningly effervescent as the freshly colored optimistic designs of the Swedish carpets. Interestingly, the Swedish carpet industry was dominated by women from the late 19th century and throughout the 20th century. Marta Maas-Fjetterström’s carpets were so much in demand that she established a studio to fabricate them that is still in existence today producing hundreds of her designs. Barbro Nilsson carried on this heritage, contributing delightful designs along with Marianne Richter, who only just passed away six years ago.

Having established a longtime collaboration with the custom couture carpet house of Doris Leslie Blau, I benefited from that firm’s extensive technical expertise and their rich archives, enthusiastic support and adventurous exploration, the combination of which could only contribute to a sensational launch of my new outdoor carpet collection. Not only could we respond boldly to the absence in the market, we could customize sizes, colors and weaves specifically for the clients. With the celebration of Danish modern furniture design, now reinterpreted in outdoor teak and modern exterior furniture fabricated in stainless steel, I had a hunch that a collection of elegantly interpreted Scandinavian-influenced designs was timely, filling the need for fresh and upbeat, yet intriguing, carpets for all-weather use.

My carpet line will be officially launched at the Hamptons Contemporary Home Design and Décor Show, at the Southampton Elks Fairgrounds, which runs June 3 to 5. For more information go to: http://www.hamptonscontemporary.com/portfolio/marshall-watson-doris-leslie-blau.

Creating a successful collection takes observation of the market, identifying the needs of the market and answering with a fulfilling and well-executed response. In addition, partnering with a manufacturer who shares one’s vision is paramount. Hopefully I’ve done my homework well.