Maison&Objet: Chic Classique

At a show that is known for being on the cusp of cutting-edge contemporary design, it was a bit of a shock to see Julius Caesar and Louis XIV, XV, XVI (take your pick) in the starring roles of inspiration. Still, it all makes perfect sense as the design pendulum has swung back toward new traditional looks in recent seasons to retreat even further to the earliest beginnings of classical design.

And, while streamlined, simplified reproduction-style pieces were plentiful and nothing particularly new, the most exciting looks sprang from contemporary designers who adapted and interpreted with artistic abandon — leaving no doubt in the mind of the viewer that these pieces were modern.

The introduction to the Historique/Hysterique exhibit, which spotlighted the trend toward neoclassicism, explained that as the Western world is hounded by emerging empires, the Greco-Roman culture dictates principles of absolute beauty. Design returns to the foundation of Western culture in a turbulent, chaotic era, resulting in a new antique look.

Hallmarks of the trend include: columns, friezes, pleated fabrics, Directoire, monumental and sculptural forms and an exaggeration of volumes and proportions. Revamped candelabras and gilded frames, including a striking design cast entirely in clear Lucite, rounded out the attitude of excess.

Oriental styles also were on the rise, marked by an aura of exotic intrigue and lush imagery. Luscious, saturated colors like pistachio, orange, fuchsia, royal purple and robin's egg intensified against a backdrop of metallics. With plenty of stylish chinoiserie (like Asian-influenced toiles) options to choose from, it was the Japanese iconography that rose to the forefront. Of note were Japanese prints rendered in abstract painting techniques, creating a revitalized, artsy makeover. High gloss lacquered finishes in every color brought serious glam to accent furniture and accessory designs.

References to nature were abundant, spotlighting the animals of the forest in lighting and small accessories. Birds (the more exotically plumed, the better) and bird's eggs in particular were found nesting in chandeliers, prints and tabletop accessories. Bird sculptures were prevalent, especially in solid, glossy white. Owls, elephants and a multitude of other animals popped up all over the place, but in a raw, organic connotation.

Branch-like chandeliers and decorative objects contributed to a wilder, imperfect style. Contributing to this trend were razored and shredded tissue-light fabrics, and sparkling shards of glass replacing crystals on chandeliers and other forms of lighting. All in all, a bit like an icy, ethereal wonderland hit by a deconstructionist blizzard.

In soft goods, damask and jacquard prints were a top pick for upholstered furniture, lamps and even on vintage-style steamer trunk ottomans. Metallics made an appearance but in a subtle manner, such as solid color fabrics with just a hint of metal skeins shot through or shimmery, barely-there tie-dye in a choice of ores. Embroidered motifs were played out in golden thread against a lush backdrop of velvet. Floral prints featured big blooms in classic or chinois interpretations.

In lighting, colored glass was a show favorite with rainbow hues for pendants and traditional chandelier designs showcased in solid red, black or even pink, body and all. Standard chandelier drops in many cases were replaced with a twist, like seaglass-inspired chunks of glass. Lamp bases and bodies reflect a nod to ornamentation with motifs and patterns engraved or otherwise showcased, highlighting the neoclassic trend, among others.

Other style-worthy mentions were a predominance of hair calf and printed skins, as well as the use of natural and faux horn: best textural contrast was shown in a printed hair calf accent table with twisted horn legs. Sand-blasted finishes on smooth glass and other unusual textural combos were shown.

Color trends focused on combinations of colors: red/black/white; red/white/gold; black/white; red/hot pink. Quintessentially French neutrals made a strong appearance like pairings of camel/topaz/truffle and ivory/taupe/espresso, punched up with a shot of blush, prune or aubergine.

Bone china flowers float organically across hand-blown teardrop pendants from Bodo Sperlein, spotlighting fragile, translucent blooms in sleek, contemporary form. eLink 693