Go Design Go Timothy Corrigan aims for "life-dnhancing designs" in collections for Schumacher and PF&M

Source: Go Design Go

 Following in the footsteps of designers such as Mary McDonald, Celerie Kemble and Martyn Lawrence Bullard, Timothy Corrigan has debuted two collections this season for Schumacher and Patterson, Flynn & Martin.

In a Q&A with Go Design Go, Timothy elaborates on his design process for his first-ever fabric, furniture and rug collections.

What was the most rewarding part of the design process?

Developing these collections has been one of the great privileges of my life as a designer. I have completely loved the entire process because it pushed me to really evaluate what I am drawn to and value in terms of design.

In this process I had to look at what shapes and colors I really love and then figure out how to turn those into a cohesive collection that will really work in people’s homes all across the country.

What makes the rug collection unique?

What I love about the rugs is that they can be customized by altering their colors and varying the scale of the patterns; so, for example the oversize palm fronds on the Cap Ferrat carpet, when shrunk, come to resemble a more traditional oriental or Aubusson style carpet. You can make them as bold or quiet as you want. Our Chantilly Lace rug in a vibrant red would be a showstopper with a black leather sofa, but do it in cream and tan and it takes on a completely different look.

Cap Ferrat Carpet

Chantilly lace in red

Chantilly Lace in cream and tan

How did you begin with the furniture design?

I believe that rooms have to be comfortable and practical, which is the same approach I used in designing the furniture. When it came to designing the furniture, I conceived the refined silhouettes with practicality in mind. It’s all about comfort! The wave chair and sofa looks beautiful, but they are both ergonomically designed so that when you lie down, your head is cradled and your arm is comfortable; the back cushions are designed to be high enough that you can lean back and your head is supported if you watch TV.

Why did you want to work with Schumacher/Patterson, Flynn & Martin?

After being approached by a number of companies, the reason I chose Schumacher was because it is the oldest and one of the strongest brands in America—it is celebrating its 125 anniversary this year! Across the country people know and trust Schumacher for being a quality brand and having one of the widest range of fabrics, both traditional and contemporary.

Does the collection speak to any one design aesthetic?

Design is always operating on a pendulum shifting from one broad area to another and we are currently shifting away from the clean, somewhat stark modernist place that we have seen for the last five to ten years. Design is moving towards a warmer, more organic, lyrical and layered esthetic. I wanted the collections to reflect that transition with patterns and colors that are vibrant and nuanced.

What was your ultimate goal with the collections?

I know it sounds corny, but I also wanted to create designs that are life-enhancing: you smile when you see the face of the bird in “Huntington Gardens,” your heart skips a beat when you see the subtle, gorgeous colors in “Chateau Silk Damask,” you think I want to rest my face up against that plush velvet of “Madeleine.” As designers, we have the opportunity to make our client’s home a special place that feeds and nurtures them, both body and soul!

How do you see designers using these pieces in their work?

Americans are far more international today then ever before, so I wanted to synthesize the comfortable, casual L.A. lifestyle and the grander aspects of traditional European design into a fresh statement, something vibrant and layered that allows homeowners to reflect their own personalities.

Do you have a favorite piece or detail in the collection?

Many of the designs are composed of smaller patterns within a larger pattern. You think that you see one thing, but then on closer inspection you see that it’s created by a number of small shapes that form the whole. The Chantilly pattern is a great example of this. From a distance it looks almost like a solid fabric, but, as you look more closely, you begin to see what appears to be a random, zig-zag pattern and then when you get even closer, you see that the zig-zag is actually created by a much more intricate pattern that resembles a fine, complex lace design.

True luxury has always been about the details. We are entering an age in which people expect high-end products to be more complexly created, with greater design detail and, frankly, just more special.

What was most difficult about the process?

Having to choose which designs and colors to develop was definitely the most difficult part for me. After narrowing down to the number of patterns we were going to do, we could only do them in a limited number of colorways, so it was a bit like having to pick which of the newborn puppies to keep and which to give away. I loved so many of the different options!

What's next for you?

The first introduction of my first china collection for Royal Limoges is debuting in late April. Next, I will be designing a collection of bathroom fixtures for the amazing French plumbing company, THG. My head is brimming with ideas because it will be the first time that I am designing detailed metal-works. They are truly the Rolls Royce of plumbing fixtures and their products are like jewelry for the home. I’m also looking forward to designing a room for the Decorators Show House in Atlanta and participating in the upcoming Legends of La Cienega events in LA. Finally, my book, “An Invitation to Château du Grand-Lucé,” still keeps me on the road with lectures and book-signings. And last, but most importantly, I feel so incredibly blessed to have so many wonderful interior design projects which continue to allow me to stretch and grow as a designer!


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