INTERIOR DESIGNERS are fond of antiques; we often collect them ourselves, and are quick to recommend them to clients. Some of our clients love the idea. Mention antiques to some, however, and they cringe, recalling dusty, depressing, cluttered houses of days gone by. What is the reason for a designer’s obsession with incorporating antiques into a home? The answer has to do not only with style, but with substance, history and roots.

Interior designers and decorators have been seeking antique and vintage furnishings for clients since the beginning of the modern design profession about 100 years ago. Some of the early decorators were wealthy trendsetters, who went into business helping their friends. Not all of the clients, however, were blue-bloods; some were newly rich, and they sought the permanence and pedigree seen in the great homes of the day. These were homes filled with pieces handed down through families, showing a patina earned by years of service. The newly wealthy, seeking social acceptance, found that antiques were the perfect way to give their new homes the look and feel of a revered family seat. They were also the ultimate one-of-a-kind item, the perfect souvenir to show off exotic travel and demonstrate their education and sophistication.

Antique pieces are not only valued for the way they look, however. On a very old piece of wood furniture, for instance, we can run our fingers over the surface and feel low, smooth indentations where the boards were hewn by hand. We can see the different woods used for drawers, framing, and front panels. Studying the woods used on construction can tell us where the piece was likely made, and sometimes even by whom and when. Look underneath, and you can see that oxidation has turned the unfinished woods a warm brown color that is only achieved over time. All of these things give us a sense of the story of the piece. Instead of imagining a sad, dusty attic when we learn about antiques, we can begin to imagine our own history. For so many Americans, the details of our history were lost when our families emigrated from Europe or traveled West and left family behind. Through collecting, we reclaim a story our own family may have had; we imagine a settler cutting a huge old-growth tree, sawing and planing the wood by hand, and finishing a table in his own barn. Perhaps the table top is made from just one or two boards, a feat impossible today since such huge trees are long gone. On a finer piece, a beautiful mahogany wood may indicate without a doubt that a chest was made in England, from wood harvested in the Caribbean, then exported to the Colonies over two hundred years ago. It’s a great history lesson to think of the lively triangle of trade that existed at the time, and a thrill to think your chest may have been part of it. It’s truly a wonder that so many antiques have survived for so long with daily use.

Every time you pass that chest in the hall, or open a drawer, you feel connected to its former owners, whether they were your ancestors or not. If a piece has significant signs of wear (known as “patina”) it will have even more of a story to tell. In a farmhouse for example, cleaning required mopping with water which would eventually damage chair legs. Chairs kept for many years (when people couldn’t afford to replace them) often had the legs cut shorter to remove rotten wood or a broken rocker, so it is common to find antique country chairs that are very low to the ground. I like to think of them being passed down to the youngest, and eventually ending up on the porch when a new chair came along, where they developed that rich patina of time-worn paint.

Even if they weren’t passed down in the family, a collection of antiques and souvenirs becomes an archive of a family’s life together. In my own home I have a collection of 19th century plates with scenes in black and white. Lacking a dining cupboard for them, I ended up hanging them all over the walls in our front entry. Each one reminds me of something: a friend long ago, a trip to Paris, an antiquing weekend in Charlottesville, a gift from my husband. So while they have a history that began long before I had them, they are part of our history now too.

Antiques can of course be a good investment; however, not because they are expected to skyrocket in value. Unless you are looking at high-end, museum quality pieces, most antique furnishings are relatively affordable. Modern manufacturing was born over 150 years ago; that means there are literally thousands of cupboards, chests and tables that were mass-produced over 100 years ago and are antique today. They are a good investment because they are solid wood and built to last by skilled craftsmen. Take a walk through a modern-day furniture chain store and unless you are in the most exclusive department, you’ll see fiberboard construction with faux-painted wood grain, fake carvings made of resin, and plastic drawer glides. These features look “real” in the showroom, but won’t last under wear and tear. For prices not much more than a cheaply made piece of modern furniture, we can often find a vintage or antique piece in very good condition. A little finessing by a good carpenter can ensure that doors and drawers are working smoothly. And if, after several years of service to your family, you no longer need the piece, you can likely sell it for a good price. The same thing can’t be said of new furniture today.

An antique is perfect for an area where we want a statement piece of furniture, such as an entry hall. It can be the conversation piece that sets off a home. One couple we have been working with created an alcove in their new home especially for a beautiful antique sideboard. Since the piece is well over 200 years old, they found a spot to keep it out of harm’s way yet enjoy seeing it every day and sharing its history with visitors. One day, they can pass it on to their children confident that it will have increased in value because of its quality. On the affordable end, a table that already has a patina of scratches and dents can be perfect for a young family whose children will add their own wear and tear. Vintage dining room furniture is especially reasonable compared to a new purchase and can be easily refinished when the children are a bit older.

Some antiques are perfect candidates for a new paint job. Manufactured pieces were made in large quantities, so even though they may be antique, they are not particularly precious. Once a piece has been evaluated and you are sure it isn’t extremely old or hand-hewn, it could be painted. Some antique manufactured furnishings, like golden oak or maple, are unpopular today because of the color and can be bought reasonably and painted. We recommend a professional paint job for a good result. This can be a great solution to using a family antique that no one likes; given the choice between getting rid of a piece or painting it to keep it in the family, the paint starts to seem like a good idea. A dark oak dresser with a coat of fresh white paint can be perfect for a childs room, or extra storage in a bathroom or hall. For an artsy vintage look, go for a splash of color like aqua or apple green. Years from now, someone who inherits the chest may like oak, and they can have it stripped. If this is done professionally no harm is done, and the antique stays in the family for another generation.

These are just a few of the numerous reasons designers are often passionate about antiques. There can be something a bit sterile about bringing a truck full of brand-new furniture to a house and just filling it up. Antiques bring spirit to a home that is much needed in today’s fast-changing world. It’s been said that we must first give our children roots, then wings. Creating a home that has its own story is part of that process. Antiques give us a sense of permanence not found in the latest room-to-go ensemble. Like a hard-sought prize, they are often the result of a long and memory-filled hunt. And like a beloved family member, once they move in we are loathe to let them go. Every new piece acquired this way contributes to that sense of permanence. It is my great pleasure to imagine a family living in a home I helped create. It’s a blessing to be invited briefly into their lives, and in a small way become part of their history and memories by finding unique and quality furnishings, or helping them incorporate inherited pieces in ways they had not imagined. As writer Dominique Browning once said, “it isn’t the things that make a home; what makes a home is the loving spirit in which those things are gathered.”

Copyright 2009 Kerry Ann Dame. May not be reproduced without permission.

IKAT FABRICS (pronounced ee-kat) are the oldest known patterned textiles in the world.  They appear in cultures as diverse as Japan, Indonesia, Malaysia, Guatemala, Turkey, and India.  Because textiles rarely survive more than a few thousand years, it is unknown how far back Ikat patterns date.  Those most familiar to Westerners are the elaborate textile designs of Japan, the handicrafts of South America and the beautiful Ikat robes and hangings of Central Asia.    Click here to see Ikat Blankets in Indonesia.

While they have existed for thousands of years, Ikat fabrics garnered fame in the nineteenth century, when the finest examples of Ikats from Central Asia were used as a form of currency on the fabled Silk Road (a trade route across Asia that linked Europe to all of the peoples and cultures from Turkey to China.) Via the Silk Road, Ikats traveled by camel train in all directions and were traded for all manner of merchandise.  Woven of silk on narrow looms, strips of Ikat fabric were used to make magnificent robes coveted by tribal leaders; they adorned prized horses and were hung in palaces.  Records show that there was no greater gift; in fact, an Ikat robe was worth more than the life of the finest slave. Trade and European travelers brought them west, where they have had a unique influence on the design world ever since.

The word Ikat comes from a word in Malay that means  “to bind or wind around”.  Thousands of individual threads are tie-dyed in intricate patterns, then untied and woven into fabric; in 19th century Bukhara, there were hundreds of workshops dedicated solely to making Ikat threads.  The threads were wrapped, dyed, sorted, rewrapped and dyed again; the tie-dye technique produced slightly innacurate color distribution which resulted in the enchanting blurred edges of the finished designs.. The more elaborate the pattern, the longer the process before weaving could begin.  Ikat designers then hung the threads on simple looms, marking them with patterns passed down through generations of artisans. Weavers charged according to the intricacy of the design. Hundreds of thousands of Ikats were woven in central Asia in the nineteenth century, and exported to countries all along the Silk Road.
by Luciano Ghersi

Antique Ikat robes and Ikat fragments are coveted by textile collectors and designers, and add a touch of the exotic to interiors both traditional and modern.  The bright, vegetable-dyed colors and graphic patterns are bold and romantic.  An Ikat robe becomes a beautiful work of art when hung on a wall.  Adding an Ikat pattern to a room, even if it’s just a pillow, demonstrates one’s interest in far-flung travel and exotic cultures, as well as one’s appreciation for the difficult craft of weaving such a complicated piece.

Today’s designers are reinventing the Ikat, using the ancient techniques and creating fresh designs.  Reproduction Ikat designs allow us to use these exciting patterns in ways that we could never use antique fabrics - upholstery, drapery, area rugs and fashion.  Here’s a selection of our favorites that are readily available today,  to order through Posh Living:

Magnificat Ikat Nap Pillow

Magnificat Ikat Large Pillow, Red

Diamond Pattern Daphne Ikat by Madeleine Weinrib Atelier

Ikat-inspired Luce fabric by Madeleine Weinrib Atelier

Ikat patterned rug from Madeleine Weinrib Atelier;Photo by Annie Schlechter, Domino, Nov. 2008.

Ikat Fabric from China Seas jazzes up a bedroom by , Photo by Ngoc Minh Ngo, House Beautiful, March 2009.

Designer Hall Williamson uses an Ikat unexpectedly on a slipper chair in this romantic sitting room; photo from House Beautiful

A very modern print, Bali Isle from China Seas, based on ancient Ikat patterns; photo from Domino Magazine

HADES OF BLUE AND WHITE in interior design have enjoyed almost a cult status since Egyptian times. From the blue lotus-flower murals of Queen Nefertiti’s palace, to the flower-rich cultures of Persia, China and Mughal India, the aristocracy has always been fascinated by the color blue. Despite being rare as a flower color, blue has a rich cultural history derived from the use of blue flowers in medicine and myth. The Romans believed blue flowers were created by the gods as a gift; irises were a symbol of the Virgin Mary, and she is usually depicted wearing a blue cloak. Violets were a symbol of Christian humility, and the pale blue flowers of rosemary were thought to ward off black magic and the plague. Even today, brides traditionally wear something blue, as the belief persists that it is a lucky color.

Historically, the color blue was not easily available to all; the dyes that make blue fabrics were derived from the rarest flowers. A blue or purple garment was a status symbol for the wealthy. By the eighteenth century, however, that began to change. Indigo was cultivated in larger quantities in the New World, and fabulous porcelains were brought back from the Orient in massive quantities. Our love affair with blue and white had begun.

Beginning in the 16th century European traders sailed the globe, returning with ships full of valuable spices and silk. In order to keep the delicate fabrics and spices away from moisture in the hold, they needed to fill the lowest parts of the ship with wares that wouldn’t be damaged if wet. Chinese porcelains were perfect. First seen only in the homes of the very wealthy, blue and white porcelain quickly became a collecting craze. Europeans were smitten by the shades of blue and handpainted designs. Its manufacture was a mystery; compared to European pottery, porcelain was miraculously refined, light, strong and white in color. It was the perfect vessel for drinking the newest popular drink, imported tea. Fascinated by the Oriental scenes depicted, French manufacturers copied the designs onto fabrics, creating the scenic toiles we still love today. To show one’s wealth and sophistication, a roomful of blue and white “China”, as it came to be called, was a must. Shelf brackets covered the walls, each holding a precious vase or jar, and plates hung side by side, closely filling the walls. Often the walls were handpainted to match, and blue and white fabrics covered the furnishings. After dinner, guests would relax for drinks in the China Room, and admire the host’s impressive collection.

It was many years before potters in Europe discovered the secret to making true porcelain, and the passion for blue and white could hit the mass market. By the early 18th century, German potters at the now-famous Meissen factory had finally created true porcelain; once the secret leaked out, it spread quickly to England. By the mid-1700’s factories in England were turning out copies of blue and white Chinese porcelain, and the passion for blue and white began to spread. Cobalt blue was a much cheaper glaze to produce, since it could be completed in fewer steps than multicolored pieces; in a short time the color became widely popular as a growing middle class could finally afford the magical China. However, these pieces were still handpainted and somewhat expensive to produce. In an effort to keep up with demand, English potters looked for a way to apply the decoration to the porcelain mechanically, so artists wouldn’t be needed. They developed a way of transferring design from books onto tissue and firing it onto the plates. By the 1760’s, factories were producing hundreds of thousands of pieces of “transferware” per year. While it was printed on a heavier pottery and not porcelain, the blue and white of the upper classes was finally available to nearly all.

So it was that the long-admired blue China spread like wildfire around Europe and across the Atlantic to America. Equally stunning developments in other manufacturing in the early 1900’s not only allowed accompanying fabrics and wallpapers to be mass-produced, the Industrial Revolution created the American middle class. Now millions of people finally had access to and were able to afford beautiful things for their homes. While it is a popular belief that historic homes were plain inside, in actual fact vibrant color was used to paint interiors as early as the 1700’s. Light blues were common for dining rooms, and deep blues for sitting rooms and libraries. Curtains and bed hangings were made up to match. So by the middle of the 1800’s blue and white had been enjoyed in the finest homes for over a hundred years, and it was looked upon as a symbol of good taste.

Throughout the 19th century, the Victorians, with their passion for collecting stuff, amassed millions of pieces of blue and white China. They ate off it, filled rooms with it, and hung curtains and wallpaper to match. Some of the wallpaper and fabric patterns created a hundred years ago are still popular today.

Nowadays, blue and white seems to wax and wane on the decorating scene. There are those who never seem to give up on it, as if it is part of their collective unconscious. Generations have grown up dining on American-made Blue Willow china, sleeping under blue patchwork quilts, counting the flowers on blue and white wallpaper. So many of us remember cupboards full of blue and white dishes, and many of us have inherited collections that we continue to decorate around. Even when the color trends stray from the blue family, it eventually comes around again.

Blue is making a comeback this year, as we revisit it in our homes and lives. It reminds us of our family histories and exotic travels. It echoes the sea, the sky, and the rare flowers that we enjoy in summer. Living with blue and white helps brighten rooms in dark climates like Sweden and cool down the heat of a French country summer. It can capture the feeling of the beach without using cliche’ elements like shells and sailboats. Like the limitless horizon on a summer day, blue and white seems to be with us to stay.

Copyright July 2008 Kerry Ann Dame. May not be reproduced without permission.