Orlando, FL, April 10, 2006--It was form following fashion at Coverings 2006, where the on-going global cultural convergence of art, design, and couture continued to set the trends in ceramic tile and stone. The hottest looks on the expo floor came straight from the popular consciousness and prevalent styles.
There were skins and bling, precious metals and rare stones, sleek minimalism and ornamentation to the max, fresh candy colors and graphic black and white, photorealistic prints and traditional damask designs, earthy natural influences, and tons of texture, pattern, and dimension—in scales from small to large. Vertical surfaces were everywhere, too, as tile manufacturers introduced all sorts of fabulously inventive and decorative options to pave the wall.
According to Donato Grosser, a longtime consultant to the ceramic tile industry who presented one of the 70 free seminar sessions during the four-day international trade show, cited in his predictions that the future of the ceramic tile market in the U.S. is increasingly at the high end and strongly becoming a fashion business. Customization, and the luxury looks that end-users demand, is becoming a greater reality thanks to technological innovations, such as the water-laser jet cut.
Ceramic tiles are putting on a stone face, these days, mimicking everything from granite, marble, and basalt to flagstone, schist, and shale. Many of them are textured, such as an elegantly routed version from Tau. Porcelanosa, in its L’Antic Colonial Collection, has stone mosaics, large, shale-like pavers with textured surfaces, and even mini bricks, called Brick Butan, which can be used to construct a vertical surface that resembles traditional Pennsylvania fieldstone.
A reverence for wood was everywhere, with ceramic styles so realistically resembling wood grains and species, from bamboo to mahogany, cherry, maple, and teak that showgoers were doing double-takes. But, with the advantages of ceramic vs. wood so compelling--resistant to moisture, bug infestations and wear, and requiring minimal upkeep--the ceramic editions were winning fans easily. Among the most impressive exhibitors of this genre were Caesar, whose Feel collection was shown in a variety of shapes from square tiles to planks and trims, in colors that range from the palest neutrals through such saturated shades as jade, ocean, and moonlight, with the option of insets glass strips that add both design interest and a little luminosity to the surface underfoot. Exelle was offering Yacu, a wood-like tile with a Japanese feel, which it is showing with Decoro Flower, a decorative tile with a floral pattern influenced by both William Morris and Japanese textile design.
Metallic surfaces were everywhere: shiny titanium, chromed or brushed stainless steel, and gold teased the eye, as did the patinated bronzes and corten steels that have taken the market by storm. Furthermore, insets were everywhere—from colored glass “jewels” set randomly or in patterns to metal-finished mini-moments for visual interest. Deltaker’s Plasma Series and Special Pieces, for example, were sporting iridescent metallic finishes, in brilliant saturated colors such as magenta and cobalt. Geleite Building Material Co., Ltd., a relative newcomer from China, was offering a range of stainless steel finished tiles and mosaic patterns from traditional interlocking lozenges and herringbones to circles. Iris also was showcasing a metallic surface that dazzled with its semblance to steel.
A continued infatuation with mid-century modern design along with the ‘70s retro revival also could be seen having an impact, effecting color palettes, textures, and surface patterns. Viva’s Central Station collection included the Simple Emotion series of inserts, with sophisticated nostalgic patterns that range from poppies to branches to sunbursts—in the flame reds, teals, and avocados of an earlier era.
