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Veranda published a gallery of 10 interiors in which designers paired wicker with settings ranging from a historic ocean liner to homes in Rome, Maine and the Caribbean. The feature presents these rooms as examples of wicker’s range, but does not establish a measurable change in designers’ use of the material.
Veranda has published a gallery of 10 interiors featuring wicker furniture and decor, tracing the material’s use from the RMS Titanic’s Café Parisien to contemporary and historic homes in the Caribbean, Europe and the United States. The feature argues through its examples that wicker can work in settings beyond porches and resort spaces, although it provides no survey or sales data measuring a broader rise in designers’ use of the material.
According to Veranda’s gallery, the rooms include the Titanic’s Café Parisien, designed to evoke a Parisian café and furnished with wicker seating, and a winter garden in Rome belonging to fashion designer Irene Galitzine. The magazine says Italian designer Renzo Mongiardino used wicker sofas and chairs by Bonacina in Galitzine’s apartment. Veranda describes Bonacina as a luxury furniture company that has made woven pieces for indoor and outdoor use since the 19th century.
Other examples in the Veranda feature place wicker in formal or urban interiors. In Marella Agnelli’s Rome living room, designed by Ward Bennett and pictured in 1977, large wicker furniture sits alongside modern art and a neutral palette. The magazine says that in a Maine summer home, designer Tom Scheerer paired antique Bar Harbor chairs with a Saarinen coffee table and a Moroccan wool rug. Veranda presents both combinations as examples of wicker alongside modern furniture and art.
The gallery also features resort and island settings, including Hubert de Givenchy’s poolhouse at Le Clos Fiorentina, Amanda Lindroth’s Nassau loggia, and a Dominican Republic great room designed by Celerie Kemble. According to Veranda, later entries include a sunroom in Alabama redesigned by Mark D. Sikes and a Mustique dining pavilion refreshed by Veere Grenney, where custom wicker furniture was made to match original designs. The supplied version of the magazine’s article begins an entry on the drawing room at Cobblers Cove, designed by Lulu Lytle, but does not include its description.
Wicker Moves Beyond the Veranda
The gallery’s central point is a design argument, not a newly announced industry finding: Veranda shows wicker in a range of interiors, rather than only outdoor rooms or vacation properties. The magazine’s examples include Agnelli’s city apartment and the Titanic café, alongside Caribbean loggias and poolhouses; its Maine room pairs antique woven chairs with modernist furniture.
For readers choosing furnishings, the examples show how setting, scale and surrounding materials can shape the look of wicker. Veranda highlights pairings with modern art, patterned upholstery, tile and contemporary tables. These are editorial examples, not evidence that every wicker piece suits every room or that designers as a group have adopted a new trend.
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From Ocean Liner to Island Homes
Veranda frames wicker’s appeal through individual rooms and their designers. The gallery’s timeline reaches back to the RMS Titanic and the Rome apartment photographed in 1977, then moves among homes and hospitality spaces associated with later designers. The supplied material does not provide the gallery’s publication date or present a formal history of wicker furniture.
Veranda’s account also connects some pieces to specific architectural and personal histories. The magazine says Mustique’s Obsidian was originally designed in the 1970s for photographer Patrick Lichfield by Oliver Messel, an English set designer who later designed homes on the island. According to the feature, the current owners bought the property after Lichfield died in 2005 and hired Veere Grenney to refresh it while preserving its island character. Veranda reports that Soane Britain custom-made the wicker dining set to match the original designs.
What the Gallery Cannot Establish
Veranda’s gallery does not provide independent market data, designer surveys or sales figures to verify its headline characterization of wicker as having reached “cult status.” That phrase is the feature’s framing, not a quantified finding. The article does not establish when the shift it describes began or how widespread it is across the design industry.
The supplied text ends partway through Veranda’s Cobblers Cove entry, so the details of that room are not available here. The provided material also does not state when the magazine published the gallery. The room descriptions and design attributions are reported by Veranda; the supplied source does not include separate confirmation from the designers, owners or furniture makers.
No Follow-Up Announced
The supplied material describes a published Veranda design gallery and gives no announced next event, product launch or follow-up reporting. Readers seeking the complete list can consult the magazine’s original article, particularly for the unfinished Cobblers Cove entry. Any broader claim that wicker’s popularity is rising would require additional evidence, such as sales figures, new product data or reporting from designers and manufacturers.
Key Questions
What is the news in this story?
Veranda published a gallery of 10 rooms that feature wicker, presenting examples across historic and contemporary interiors.
Which historic spaces are featured?
Veranda’s supplied descriptions include the Titanic’s Café Parisien and Marella Agnelli’s Rome living room, photographed in 1977.
Does the gallery prove wicker has become more popular?
No. Veranda offers editorial examples of wicker in varied interiors, but provides no sales data, designer survey or other measure of a wider trend.
What is known about the Mustique dining pavilion?
Veranda says Obsidian was designed in the 1970s by Oliver Messel for Patrick Lichfield. The magazine reports that designer Veere Grenney later refreshed the property and Soane Britain made wicker furniture to match the original designs.
Source: rss
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