Snooping On Etsy – Woven Wall Hangings

Woven Wall Hangings are a thing. If you don’t believe me, look at these pictures. Coco + Sponge

Bohemian Diesel

Cute, don’t you think? A little rustic, a little sophisticated, and, a lot unpretentious.

It is not easy to find the perfect piece to decorate your wall. Pictures are obviously a good start, but you need to add other kinds of decorations to spice your home up. At least, that is why I like to do. A woven or macramé wall hanging is a great place to start. They are trending, they are beautiful, they can use a lot of wall space, and, they add texture to your home, which is something so many of us forget to do.

So, in my search for beautiful things around the web, I decided to look on my best shopping friend website, Etsy, where I found a lot of shops with beautiful handmade wall hangings, as expected.

Here are my favorite shops, if you know of another one, let me know! I would love to hear. A lot of these shops will customize a wall hanging to your needs, in case you want something more specific.

Of course, if you are up for a challenge, you can do your own woven wall hanging. Here is how.

Now, to that shop list:

The Juju Just the Oak Tree and Hunter Studios

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What I See A Lot In Design Magazines – Panorama Wallpaper - Panorama Wallpaper

Roaming the Internet is one of my favorite hobbies. In one of my latest trips through websites and design magazines, I found Elitis wallpaper, a company that takes panorama wallpaper to the next level.

I want to use wallpaper when I remodel my house (if that ever happens), but I would like to use something edgy, unusual and unexpected. When I saw the Elitis’ collection of panorama wallpapers and murals, I fell in love.  They are raw and unpredictable! A gorgeous statement to customize entire walls. Also, have you noticed how everybody is using panorama wallpapers lately? My only concern is that, after some years, you will probably get sick of seeing the same picture/panorama in your living room wall over and over again, but, why worry about that now?

Elitis is a French company with representatives all around the world. I am sure it is expensive though. Here are some pictures to spark your creativity. If you are not convinced about transforming a whole wall into a big panorama, you can use something more conservative but still different, like the L’original collection below, isn’t it gorgeous?

The sun of Palermo. The dazzling light at the end of the dark and cool narrow lane is palpable.    One discovers while still blinded, bas-reliefs carved by the sun.   Pottery, scrolls, sculptures invite the touch.     Charm, softness and inventiveness inspired these new designs.

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What I See A Lot In Design Magazines – White Floors

The floor of my dream house is white; the floor of my children’s dream house is dirty, slimy and filthy, so, until my children are reasonable humans that understand that waste goes in a garbage can, or that pee is better disposed off in the toilet, I will have to dream about white floors instead of stepping on them.

Why do I love white floors? White is a clean canvas to showcase color. I like the idea of having pops of my favorite tones come alive in the midst of white, instead of getting lost on wood or concrete floors. If you don’t know what I mean, look at the pictures below.

Color resonates with more strength when surrounded by white, don’t you think?

Here are some examples. I am always happy to hear what do you think.

          KK         SF Girl By         Mr         Sea Of         Wolf Eye         Apartment floors 8         Peneloscope floors 13         The


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What I See A Lot On Pinterest – Butterfly Chairs

The Butterfly Chair, AKA “BKF”, “Hardoy chair”, “Safari chair”, “Wing chair” or “Sling Chair,” is a classic piece of furniture from the 19th century. The design was inspired in campaign chairs that were easy to fold and move around when traveling. It has a metal frame and a sack seat that hangs like a hammock. It is very comfortable, unless you are wearing a mini skirt that doesn’t allow room for breathing, eating, or any other normal activity that most human beings do.

Let’s look at some of these beautiful chairs for inspiration, and, when looking at the pictures, put attention at the beauty of its curves, I BEG YOU.

Antonio Bonet, Juan Kurchan, and Jorge Ferrari Hardoy designed the chair, as we know it today, in Buenos Aires, Argentina, in the 1930s. Knoll Associates acquired the rights to mass-produce it in the US, in the late 1940s.

In any case, many decades after it was created, this chair keeps on being a signature of good taste and functionality. MoMA has a Hardoy Chair in its exhibition, so, if you want a museum worthy piece of furniture in your household, go and get one of these now.

Here are some links to  my favorites ones.  The leather butterfly chairs are always very expensive; if you want a cheaper version, buy a non-leather one. Also, don’t forget to send me a picture of your butterfly chair if you have one! I would love to see it.

  1. 1938 tobacco leather butterfly chair – $
  2. Palermo Leather Butterfly Chair – Copper and Cognac. The Citizenry ($775). I know this one is very expensive, but, isn’t that copper frame so beautiful? - the citizenry
  3. Life Style by Cara –Etsy ($380)
  4. Flutter by Chairs – Etsy ($195)





Image Source: 1)2)3)4) 5) 6) 7)8)

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Let Us Be Inspired By Ettore Sottsass

Because this is a design blog, among other things, let’s look at some pictures of Ettore Sottsass’ designs for inspiration, shall we?

Sottsass’ designs are easy to identify. His furniture designs, for example, are full of color, strange angles, and laminated plastic. His works are a trademark of the 1980s. In this decade, Sottsass was one of the founders and the leading figure of Memphis, the Milan design group famous for brightly colored postmodern furniture, lighting and ceramics. He wanted to bring joy and a sense of surprise to people through design and architecture. What I love the most about him is his use of colors. He thought every color has a history, and, with this in mind, he chose specific hues to give deeper meanings to his designs. Sottsass2

Ettore Sottsass gave a lot of interviews during his lifetime. I found a couple of interviews he gave at the end of his life and career that I thought are especially interesting. I learned not only about his profession, but his view on life. I like listening/reading to what older people have to say about their successes, failures and evolution through life. There is so much to learn from wisdom, as I have said before. I found these interviews here and here. I chose some of the answers I liked the most to share with you. Hope you like them and his designs. Sottsass11 Sottsass10

describe your style, like a good friend of yours would describe it.

I truly believe that our duty as an architect or a designer is to design things which attract luck, rooms which protect people…

I don’t design things in any style, even less so in any fashion style,

I design things for life states.



from ‘poltronova’ to ‘olivetti’ to ‘memphis’ to your latest works with sottass associati, can you give us an idea of the evolution of your philosophy?

at the beginning, when I was young, full of presumption, theoretical, very aggressive, I was very tied to turn of the century functionalism, to the idea of functional style. but gradually I left that behind, because I found a new source of inspiration. from then on I began to try to figure out what I could be in terms of this society, the people, the necessity which surrounded me. ‘memphis’ was a sort of exercise in design, so was ‘olivetti’. they asked me to set up the design of the electronics division. at that time, electronics meant big closets… it was impossible to understand. besides the functionality, which i am still interested in, there was this mystery of electronics. I wanted to show that electronics were mysterious, that is the relationship between design and functionality, a more extensive functionality… a description of a certain conception of existence. this relationship has been and still is central in my work. Sottsass13 Sottsass14

Is there any architect or designer from past you appreciate a lot?

le corbusier. the idea of functionalism with a mediterranean touch

(a swiss who discovers the mediterranean): the walls are slightly sensorial, you can touch them (you can intervene), they are not like gropius’ german ones where you can’t do anything with them. he put toilets in bedrooms, you could see them, he understood that functionality was not only ergonomics, not only rationality, but something which went beyond them. it was functional to be a human being and to live. and then there’s also aldo rossi, certainly one of the most interesting architects. have strange angled and bright colors in laminated plastic, striped, polka-dotted and leopard-skinne. Memphis was launched in a Milan gallery in September 1981, in a near riot of 2,000 people (amazing that furniture can arouse such passions). Its original pieces now sell in auction houses for prodigious sums. Sottsass8 Sottsass4

HUO: Let’s examine the importance of fluidity and circulation between separate disciplines.
ES: However you look at it, I feel the task of the designer or the architect is to design the artificial environment, from objects to architecture, spaces, and so on. Each design corresponds directly or indirectly to an idea one has of life, of society, of the relations between the individual and society. It corresponds to the form of the weltanschauung [or worldview]; it remains the basic cultural background. And this happens in whatever you do. Whether I design a vase or design architecture, there is always this background, this basic cultural background. The difference, then, is only technical. It’s clear that if I’m designing architecture, I need to know things that are not the same as what I have to know to design a glass vase, and to design a glass vase you need to know things that are not the same as what you need to take a photograph. But apart from these technical differences — which are certainly important because they have an effect on what I can design and condition — there still remains, deep down, what I think of life, why I do things, what I imagine happens when I design something. So I don’t see the point of any clear-cut distinction between disciplines.

Take the Renaissance. It was hardly an accident that the Renaissance was a period when many artists imagined, above all, a new kind of life. They imagined a new society, a new vision of the world, a new, say, interpretation of the potential of life. They didn’t make a major distinction between Brunelleschi’s dome and the design of, say, some other work of architecture. They tackled the technical differences that might influence the way they used these different vocabularies, but nothing more. Sottsass6 Sottsass12

HUO: It’s also interesting to see what’s happening in Asia. There are a lot of Westerners, planners, who tell the politicians, “You’ve got to prevent the kind of problems we already have from taking root here.”
ES: That’s inevitable. It would be like telling someone who lives by the sea not to go out in a boat, not to go fishing, or someone who falls in the water and can’t swim not to drown. True, there’s a life jacket, but that’s not the solution. That’s why we increasingly talk about humdrum, everyday things, about private peace and quiet. Sottsass9

HUO: About a micro-utopia.
ES: Yes, I think so. Andrea Branzi sent me a text where he says that we can only work on the micro-situations. That’s why I think the Dalai Lama enjoys a certain success. [Laughs] It’s got nothing to do with it, really, but classical Buddhism, not the institutional kind, had this idea of working on our micro-existence, on micro-gestures, micro-events. Sottsass1

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