Hannah Alderson, our Upholstery Design Director for Robert Allen, joined us just a little over two months ago. In addition to her previous positions in decorative fabric design direction, Hannah started out as a fabric stylist at an upholstery mill so she knows fabric construction inside and out! She received her MFA in Textiles from Rhode Island School of Design in 2001 and her BA from Harvard in 1994. We asked Hannah for her fresh take on the designs in Robert Allen’s new Modern Library and want to share this as her blog post today.
Hannah Alderson
prim·i·tive
adj.
1. Not derived from something else; primary or basic.
In the world of design, we are having, as we like to say at Robert Allen, a “moment.” Look around, and you’ll start to see it everywhere. We are craving all things “primitive.” Which is to say: our hearts beat a little faster when we see design inspired by authentic, traditional, and even ancient aesthetics. Where the form and material appear to be made in a pre-industrial age, and where the design of an object reveals something about the skill of the hands that made it.
Robert Allen Modern Library Fabrics (Left to Right): Salamander, Slate; Salamander, Prussian; Salamander, Twine
The popularity of ancient weaving and dying techniques like batik and ikat, and the appealing awkwardness of the shapes and flowers from appliqued suzanis are a few major examples of how we are in love with all things authentic, original, and imperfect.
Designs that feel right for today and at this “moment” are ones that capitalize on a simplicity and directness. In a way they are “unfiltered.” In the very best modern textile design, the patterns are left alone to be what they want to be. The individual components are basic—an undulating line, or a simple dash, a concentric diamond—which then build in repeat like a dramatic drum beat. Simple. Powerful. Primitive.
Architectural Digest
“Modern Primitive” captured in this gorgeous modern room from Architectural Digest’s May 2011 issue. Love the African sculptures, the Modigliani painting, and of course THAT RUG.
Gillow, John and Bryan Sentence World Textiles: A Visual Guide to Traditional Techniques, London 1999.
An example of an Indonesian dyed fabric I love for its line quality, the slight meander which is the result of the dying process and the artists’ hand.
Chair shown in Dragon Lizard, Slate and Pillow in Lady Tara, Magenta
I love the connection between the inspiration of ancient resist dying techniques on the pillow, juxtaposed with a whimsical snakeskin design on the chair.
Gillow, John and Bryan Sentence World Textiles: A Visual Guide to Traditional Techniques, London 1999.
A bark cloth from Fiji. I am inspired by the layering of simple design elements. The sum is larger than the parts. So exciting.
Gillow, John and Bryan Sentence World Textiles: A Visual Guide to Traditional Techniques, London 1999.
Another example of beautiful mark-making as a result of an ancient technique.
Elle Decoration
Example of how the most traditional patterns can come together when layered to make a very modern statement. This is courageous and powerful.
I have a feeling this “moment” has something to do with a craving for courage. In ancient times, textiles and pattern were used for protection, and also projection: what did we want the world to know about us when we wore that ottoman robe, that head scarf? What did it say about our power, our strength? I like to think animal skins, entwined lattices, circles (nets, shields) help us project spaces which make us feel strong and ready and protected. Ready to begin.