so, with the clocks going back and the days getting darker, i chose a timely topic for our october blog post. some if you might know this about me but i used to live in the netherlands for a bit - the design culture of the country is just exceptional so i might bring more examples later. but there is a little fascination as well with the dutch word gezellig as it has become one of those untranslatable design-world favourites. it turns up in lifestyle pages, pinterest captions and café menus, usually next to fairy lights and hot chocolates. but like most cultural imports, it’s been flattened in translation.
so what it is then? because gezellig is not “cosy”, not entirely. ask a dutch person what gezellig means and they might talk about a social setting, a place or a moment shared, an evening, a conversation. something that feels just right, with the right companionship. it is not a design term although the somewhat related “hygge” was hijacked much the same way by interior lovers so we can think about this from that spatial perspective too. in that sense, you could see it as being surrounded with a pleasant atmosphere. this is always going to be coming from the company you enjoy but also being enclosed in a space you feel comfortable in - and it is this design sense we’re talking about today.
a spontaneous communal space for sharing evening moments with neighbours - haarlem (photo by zita)
in that kind of hijacked-by-design sense, gezellig is as down to proportion as well as sentiment. it’s the pleasure of spatial logic functioning well - which explains why it appears so naturally in dutch design. you can think of the quiet, picturesque side streets off the main canals, but it’s a concept modernists take on too. think about gerrit rietveld’s schröder house, where planes slide and pivot to create a sense of adaptable intimacy. or, if you prefer a touch of the post-modern and you’re not afraid of a bit of the old cliché, you can also consider piet blom’s cube houses in rotterdam, which literally tilt domestic space into new geometries - but still feel surprisingly humane. these are environments that invite curiosity and domesticity at the same time.
the kubuswoningen in rotterdam (photo by zita)
an interior scene in the kijk kubus (source: wikimedia commons)
the cultural reading of modernism has long painted it as cold, austere, emotionless and rational. yet many dutch and also nordic designers work from the opposite principle: that good order is itself empathy. a well-proportioned chair, a clear grid, a balanced room: these are not emotional voids, but frameworks for care and joy. if form follows function, and the function is living well, then it is good design.
in that sense then, a modernist space can feel completely “gezellig” (even though it isn’t inherently a design term and much less a decorating one.) yet, if you are surrounded by order in the right proportions, with room for the right company around you, you can completely feel this way.
we like to think warmth comes from softness — fabrics, string lights, cushions — but gezelligheid is rarely about clutter. it’s material honesty that makes a space feel grounded, and room for those shared moments.
this is where gezellig quietly overlaps with what i sometimes call cosy rationality in my love for modernism, and also my textiles. zitozza patterns begin with logic: a block, a grid, a plan. but through touch, repetition and imperfection, they turn structure into atmosphere. the pattern is so much more than surface decoration; it’s rhythm and proportion given a physical surface.
modernism understands this perfectly. warmth is achieved through light and material rather than ornament — brick, textile, tiles, all exist to give room to inhabit, rather than overwhelm. it’s why concrete in the right context can feel as gezellig as oak.
comfort in modernism - békéscsaba, hungary (photo by zita)
AI interpretation of a “gezellig” interior using zitozza textiles
perhaps gezellig offers a way to rethink modernism’s reputation. not as a style of severity, but as a practice of calm. the neat repetition of façades, the modular rhythm of housing blocks, even the shadow of a stairwell — all contain a kind of order that feels peaceful, if not “cosy” in the conventional sense.
in textile design, that same impulse translates into repeat, rhythm, and scale. a pattern that repeats just so, aligning form with material, becomes more than visual — it becomes spatial. maybe that’s where architecture and textiles quietly meet: in the shared pursuit of gezelligheid through proportion.
to me, gezellig sits somewhere between company and peace. it’s not emotional in the ornamental sense, but in the human one: proportion, care, attention to the tactile. it’s what happens when design supports life rather than dominates it. so perhaps it’s time we reclaimed gezellig from the coffee-table clichés (although i’m partial to one too many string lights). it’s not a moodboard, but a method. a spatial feeling built through light, texture, and structure. and if that sounds suspiciously modernist — well, maybe modernism was never as cold as we thought.
this is a short announcement: we’re on the road again. might not be christmas markets these year at all (or at least, in november, i refuse to call them that!) but we do have two selling events in the calendar already with the amazing tea green events which means that the quality of the line-up is guaranteed.
8th - 9th november at the burrell collection, glasgow.
i spent an afternoon at the dovecot studios in edinburgh visiting magical patterns, the ikea museum’s travelling exhibition celebrating sixty years of textile design. 180 fabrics, spanning collaborations with everyone from bitten højmark to zandra rhodes, were laid out in a riot of colour and geometry.
it is an absolute must-see for every pattern and print enthusiast and it’ll be particularly special if you’ve been shopping for ikea fabrics for a long time: i recognised fabrics i’d once had in my own home, now displayed as part of a lineage of “iconic design. what really struck me though was how clearly this exhibition became a celebration of women in design. like many design establishments, ikea was once overwhelmingly male-dominated. textiles, however, became a way for women designers to enter the system and make themselves indispensable. the show foregrounded this history: each designer was credited by name, with their tools, sketches and inspirations laid out. scissors, paper cut-outs, tracing paper: modest tools, but revealing how much painstaking labour sits behind something that looks deceptively effortless.
the pattern nerd in me loved seeing these paper cut-outs beside finished screen prints, but i couldn’t help wishing for more. how did those jagged paper edges become repeatable units? how did they translate into full-scale production? how do you separate colours for screens, and so on. this story wasn’t really told and i suppose one can’t expect a full technical breakdown at a tapestry studio, but the lack of process detail left me curious rather than fully satisfied.
what was also missing was any commentary on ikea’s shifting identity. the exhibition proudly shows its most experimental decades — the bold 1970s stripes, the broccoli motifs, the collaborations with 10-gruppen. yet, having just been to ikea edinburgh not long ago as well, the contrast was sharp: far more beige, far less risk, with the adverts promoting the exhibition all over the floor with much bolder designs and installations that almost said “hej, sorry about the actual stuff to buy, come and see this and remember when we were really cool!”
it left me wondering what really happened? ikea has always been the champion of the “middle crowd,” the “wonderful everyday”, the affordable but well-designed stuff that were simply made to serve a life well lived. but what does that mean in an economic climate where the middle is disappearing? when so many brands are either abandoning this middle crowd by trying to tap into the higher-end bracket with unreasonable pricing, or have resigned themselves to no longer lead but follow with low-quality, less cutting-edge designs. where does that leave brands like ikea? what does the future hold for the company and its bold textiles?
the exhibition has also made me think how skewed our current idea of “scandi design” has become. somewhere along the line, “scandinavian” was collapsed into plain, bare, minimalist in the mainstream. yet this exhibition shows a very different story: sweden has always embraced pattern. bold, abstract, colourful, playful. IKEA didn’t just follow that tradition, it helped define it. i know it is only one company from only one of the scandinavian countries, but i think exhibitions on the bold colours of IHAY or fritz hansen would actually tell a similar story.
so while magical patterns might not have answered all my questions, it was still a joy to wander through. it reminded me that pattern is rarely effortless, that design histories are sometimes gendered, and that “scandi minimalism” is a myth ikea’s own archive disproves. perhaps the real magic here is how a so-called middlebrow brand has quietly carried radical pattern work into millions of homes.
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IKEA: magical patterns - until 17th january 2026 at dovecot studios, 10 infirmary street, edinburgh EH1 1LT
this is going to be a bit of a hot take but those who follow me on instragram has seen me make this point before. i’m going to argue today that brutalism is actually cosy and it merely has a reputation problem. controversial or what? it is in fact bare, raw and… well, concrete, duh. perceived to be cold, harsh and as a style that overwhelms rather than invites. but spend enough time in these buildings and you might notice something else: a surprising sense of warmth.
it won’t be that the concrete has grown a softer texture all of a sudden, it’ll be precisely because of the materiality.
material honesty
rough surfaces, textured finishes, exposed joints, unpolished edges: brutalism has always been about revealing materials as they are. nothing dressed up, nothing concealed. and that honesty creates a kind of liberation, and with it you find comfort.
block printing works on a similar principle. every impression carries the grain of the fabric, the edge of the block, the rhythm of the hand. the result is never pristine, but it is always real. the imperfections aren’t flaws, they’re the thing that makes the pattern tactile and alive.
structure meets softness
what often goes underappreciated as well is how calming order is. the stark geometry of stacked, modular units leave no room for chaos. being enclosed by forms like that brings a sense of peace.
pairing block-printed textiles with brutalist or modernist interiors makes sense for this reason. the patterns mirror the structural logic of façades (repeated, modular, rational) while the fabrics introduce tactility and warmth. the concrete provides weight and permanence; the textiles provide softness and touch. together, they balance each other out.
warmth through materiality
so perhaps brutalism isn’t as uncosy as it seems. it’s not about decoration or ornament, but about surfaces that tell the truth, forms that cut through chaos and create order. if you add the softness of textiles that share the same philosophy — honest, textured, imperfect — you will get interiors that feel grounded and, yes, cosy.
cosiness doesn’t always come from softness, or softness alone. sometimes it comes from order, calmness, a sense of peace and from the way materials meet and interact. and brutalism, surprisingly, has plenty of that.
this is going to be another one of those meandering blog posts but those who know zitozza will appreciate how much i value tactile, haptic design and i often explore this further — even on the buildings i frequently post about. in interior design, it’s often the surface that gets the glory. glossy interior magazines, pinterest kitchens, machine-mixed, precisely matched wall paints — all of these speak first and foremost to the eye. but do they speak to the hand? we decorate our homes by looking, mostly. but living happens through touch.
why touch matters
this re-discovering of tactile design has been going on for a while, finnish architect juhani pallasmaa argued in the eyes of the skin that modern design has lost its connection to the body. “architecture” he wrote, has become “an art of the printed image” — increasingly flat and ocular, distant from the sensory depth it once held. we experience spaces with our skin as much as with our eyes, but you wouldn’t know it from most interiors magazines.
touch is the forgotten sense of design — until you step onto a coarsely woven jute rug barefoot, or brush your hand against a natural linen fabric. that fleeting physical experience tells us more about comfort, quality, and materiality than a thousand words of product copy.
at zitozza, this is something we take seriously. every hand block printed cushion, rug, or lampshade is an invitation to feel as well as see. the patterns may be graphic — influenced by architecture, brutalism, modernist grid systems — but the textures are deliberately tangible. you don’t just see the ink sitting on the weave. you can feel it, the texture is within the patterns and the way it is applied by brush too.
materials are more than surfaces
i want to make a clear distinction here between “surface” and “material.” although as a surface pattern designer, i have designed hard finish surfaces such as floor patterns and carvings, surface to me means something visual, often cosmetic. material carries structure, meaning, weight, and i don’t think you can design for any kind of surfaces without understanding how materials behave.
in her book thinking with things, art historian esther pasztory proposes that objects — and their materials — are not passive. we use them to think with. they shape how we relate to space, culture, and ourselves. in design, this means we don’t just use things to build with, or decorate; we also use them to express what we value.
a hand-printed lampshade might say “i believe in craft.” a concrete-textured cushion might say “i value raw honesty over perfection.” material, in other words, does not just have physical weight but also a subjective kind of significance.
this is why surface-led decorating often feels fleeting. trends change, finishes date, colours come in and out of favour. but materials with presence (e.g. stone, wood to raw jute and block-printed textures) carry weight and can be adapted to outlast different fashions.
the material as Architectural element
our work at zitozza comes from the intersection of graphic design and material design. our blocks aren’t carved by hand — they’re precision-cut from digital vector drawings, a nod to order and modernity. but once that design hits the textile, once it’s printed, imperfectly, by hand — it becomes something else. it becomes a tactile surface. a material transformation.
this is why we speak of our textiles not just as “homewares” but as architectural materials. wallpaper, for example, becomes more than wall decoration — it becomes part of the structure’s language. our newly released AGGREGATE collection for instance, can be printed by hand on non-woven wallpaper rolls and it embraces this exact idea: bold modular graphics that are not only seen but felt, shifting as light and touch interact with the ink.
what does this mean when you decorate?
it means you don’t just choose based on colour schemes. you choose based on how something feels, both physically and emotionally. that’s why the texture of a printed cushion, the density of a handwoven rug, or the grip of a paper-mounted fabric print matters. these are materials that invite interaction. they’re not background, they’re architecture in soft form.
so next time you consider updating a room, ask: what do i want to touch every day? what kind of surface do i want to live with — not just look at?
explore tactile design
if you’d like to explore zitozza's approach to materials, here are a few places to start: printed rugs (for pattern underfoot.) cushions (for texture on the sofa or bed.) mounted prints (for a feel of the cloth without needing upholstery) fabrics and wallpapers (for sampling our prints.)
what does it mean to build a collection? to assemble not just products, but ideas — shared textures, values, and visual systems?
this month, zitozza launches three new collections at clerkenwell design week: AGGREGATE, TOYTOWN, and RAJZ. at first glance, they couldn’t be more different. one is sun-bleached and structural, the next graphic and playful, the third modular and abstract. but beneath the surface, they speak the same design language — one rooted in architectural rhythm, material honesty, and the tactile potential of the printed block.
let’s start with AGGREGATE. this is a lookbook, a surface collection. it doesn’t rely on a single repeating motif but offers a suite of block-printed designs in bright, contemporary colours — from punchy blue to sof pastels and warm oranges. the name comes from the material that forms concrete and holds it together “aggregate” as a general term also means something composed of many different parts which is exactly what this lookbook is - a consistent, contemporary interiors look with many geometric components, all built up block by block.
individual units that do not ever come out the same, building something whole. the results are minimal but expressive, grounded in texture and tonal contrast. designed to be versatile, AGGREGATE is for modern interiors that favour order without coldness.
TOYTOWN, by contrast, is a little cheekier. it’s our summer collection, responding to the stripes and checks trend with bold colours. these prints feel stacked, balanced, almost like diagrams of imaginary cities. inspired by the geometry of play — toy blocks, funfair architecture, early modernist colourways — this collection embraces high contrast and graphic shape. it’s not childish, but it’s full of character. think grids gone rogue.
what really is special about these is that the entire collection has been designed with two blocks only. one element from our recently released TÉGLA set and a pair of the ever-so-architectural PANEL. it just shows how combineable these elements are and the endless creativity that can serve interiors. lines that loop, punch, repeat. it’s for spaces that don’t take themselves too seriously, and for people who still see joy in the abstract.
and then there’s RAJZ — our newest block tile set. named after the hungarian word for “drawing”, this series reimagines the blueprint as ornament. with references to architectural plans, elevations, and notational marks, RAJZ is modular at its core. each tile is a language of arrows, pathways, and boundaries.
like everything in our systems, they can be combineable with each other and with all the other MODERN blocks (we have over 130+ of these now.) you can use them seamlessly in endless configurations and colourways, creating layered narratives across textiles. it’s a set made for customisation — for architects, designers, and pattern obsessives who want to build with their hands.
together, these three collections reflect what zitozza has always done: design at the intersection of architecture and craft. they are built, not drawn. printed, not produced. and they all begin with one simple gesture — the press of a precision-cut block, inked with intention, aligned with care.
if you want to come and see them in person, please say hello at clerkenwell design week, at the platform venue (70 cowcross street, ec1m 6ej) throughout 20-22 may - register for your free tickets here.
we are ready to show it all and we do hope you love them. for custom samples, please get in touch. if you’re interested in our bespoke design services, you can find more information here.
a short while after we discussed our love for modular systems, we are talking about grids again. this isn’t just a graphic-designer-turned-textile-person’s obsession — they structure our cities, inform our screens, and quietly underpin almost every page layout and pattern we encounter. but beyond their role in organising space, grids can be a springboard for creativity, allowing designers to build complexity from simplicity. this post explores the grid not as a constraint, but as a tool of liberation — from early modernism to contemporary practice, including how zitozza plays with modularity in its textiles.
The Grid as Modernist Foundation
grids found their spiritual home in early modernist movements. bauhaus, and de stijl artists in particular, like piet mondrian reduced visual language to the essential: horizontals, verticals, primary colours. continuing the idea after the war, the swiss style emerged in the mid-20th century, with designers like josef müller-brockmann using grids to create visual harmony in posters and editorial layouts.
this was design as a rational act — about clarity, neutrality, and structure. the swiss grid system created a framework where typography and imagery could be arranged with precision. it was less about decoration and more about logic, a way to strip back the unnecessary and design a hierarchy of information.
speaking of the swiss — we love brutalism here, so now is the time to mention le corbusier, one of the most influential figures of architecture in the 20th century. in his seminal work towards a new architecture, 1923), he argues for a new visual order grounded in function, technology, and standardisation.
le corbusier's urban visions, particularly the ville radieuse and the controversial plan voisin, proposed cities built on a grid: modular, repetitive, efficient. these were not just aesthetic gestures but ideological ones, attempts to impose order on the chaos of industrialised life.
the city becomes a machine for living. blocks of buildings aligned on rigid axes, roads intersected at clean right angles (and roundabouts - think about glenrothes!), and light, air, and greenery were prioritised through geometric planning. the social and emotional consequences of these ideas are still felt today, but their influence on modern urban environments is undeniable.
the outskirts of bratislava, by SI Imaging Services / Imazins (source: getty images)
the outskirts of bratislava, by SI Imaging Services / Imazins (source: getty images)
Grids in Graphic and Interface Design
in contemporary graphic design, the legacy of the swiss grid lives on in everything from magazine layouts to responsive web design. grids provide consistency across platforms and allow for flexibility within a rational structure.
this is something i have less experience with but it has translated on from print to digital, and in UI/UX design, it is the grids that make digital interfaces feel coherent and navigable. the hidden scaffolding of columns and gutters supports typographic hierarchies and interactive elements, creating experiences that are intuitive without drawing attention to their structure.
The Balance Between Structure and Creativity
but the grid isn’t just about order. it can also serve as a space for subversion. architects and designers often use grids to set expectations — then disrupt them. breaking the grid, or the grid itself, can both become a statement - think about the iconic tables of superstudio.
in textile design, modularity offers a similar tension. zitozza's approach to block printing starts with fixed elements—repeating tiles, geometric forms — but introduces variation through placement, layering, and colour. a grid may begin the composition, but it rarely contains the outcome. it's not unlike building a city out of toy blocks: rules exist, but imagination ultimately dictates the layout.
Grids as a Living Language
grids, like language, evolve. they provide a shared syntax for designers, architects, and urbanists, but are constantly reinterpreted across time and context. from the pure geometry of modernism to the playful modularity of contemporary practice, the grid remains one of design's most enduring tools.
at zitozza, we embrace this legacy. our new collections explore grids as both framework and provocation. they are starting points, not boundaries.
after all, there is joy in structure. and sometimes, the most surprising creativity begins with a line drawn straight.
we’re back and finally able to sit down with our thoughts after having watched (and somewhat forgotten about) the brutalist movie. in that review i encouraged the research into the work of the real-life hungarians and brutalists whose lives the fictional story was based on - and i decided to start with marcel breuer since i received a great book about his work for last christmas.
those into design will know this already but i always like starting with the facts, he was born in 1902 in pécs, southern hungary and was one of the youngest students (and mentors) at bauhaus. he went on to establish his own practice in berlin, and after a two-year stint in london he moved to the states in the 1930s, first to teach architecture at harvard, then later to new york city where he continued to practice until the late 1970s.
the cesca chair, 1928
the wassily chair, 1925
for those into design, it’s also easy to recognise the heavy concrete masses of marcel breuer’s brutalist buildings — the hulking cantilevers and deep shadows of the 1960s and 70s that have since become icons of modernist architecture. but what’s more compelling than their visual impact is the thread that connects them to breuer’s earliest work. his design logic didn’t emerge suddenly in béton brut — it evolved from an obsession with functionality, structure, and modularity that was evident from the very start.
before architecture of course, there was furniture. in the 1920s, as a young bauhaus student, breuer designed the wassily chair using steel tubing — a radical departure from traditional craft at the time. lightweight, repeatable, and industrial, the chair wasn’t just functional: it was a system. breuer’s approach treated each part as a modular unit, capable of being assembled into something greater than its parts. this thinking didn’t just define his early designs — it forecast an entire architectural philosophy.
IBM research centre, la gaude, france
IBM research centre, la gaude, france
UNESCO headquarters, paris
UNESCO headquarters, paris
fast forward a few decades of immense architectural output (his practice designed more than 100 buildings), and the same logic manifests on a much larger scale. buildings like the UNESCO headquarters in paris (1951-1958), the IBM research centre in la gaude (1960-1961) or the iconic whitney museum in new york (1963-1966) carry the same DNA — modular systems, articulated forms, and a deep respect for material honesty. breuer’s concrete isn’t decorative. it’s structural, expressive, and fundamentally rational.
the book i’ve been reading — published in 1970s, written by máté major, long out of print, with that peculiar warmth of faded paper and sans serif fonts — documents this journey. the photographs, drawings, and models inside don’t romanticise his work; instead, they reinforce the relentless clarity of his method. whether designing a chair or a cultural institution, breuer asked the same questions: how can material, form, and repetition serve both function and expression?
whitney museum, new york
whitney museum, new york
as someone with a hungarian background myself, i’ve always felt a connection to breuer — not just because of the cultural context of course (despite our country being somewhat late and reluctant to recognise him), but because of how he saw the world through systems. that kind of thinking, for me, translates into surface design: building pattern from modules, constructing rhythm, shaping repetition. of course, my materials are softer, but the logic is not so different.
breuer reminds us that beauty can be found in structure — in the clarity of parts assembled with intention. whether it’s furniture, architecture, or textiles, that modular imagination still resonates.
i wanted to write this blog post for a long time but never knew where or when to start - but if that’s the case, then any time is good i guess, so why not share these thoughts now. this is pretty much the main “why” of what i do, and it just explains why i’m so interested in architecture as an inspiration. when we think about home decor, and specifically textiles, the sharp geometries of modernist and brutalist architecture isn’t always the first influence that comes to mind. yet, at zitozza, it’s at the heart of every pattern. the geometry of a brutalist facade, the rhythm of windows on a high-rise, or the weathered texture of a concrete wall — all of these architectural details find their way into our hand-printed textiles. but how does a building become a rug?
Finding Beauty in Structure
architecture is all about structure, rhythm, and materiality — elements that also define textile design. just as an architect carefully considers proportions and spatial balance, a good pattern plays with repetition and symmetry. the block-printing process we use mirrors this approach: each block is a building block, quite literally, in the design.
From Facades to Fabric
consider, for example, our TÉGLA collection. inspired by the bold, repeating brickwork of modernist and brutalist buildings, the pattern distills architectural structure into textile form. what might seem cold or industrial in concrete becomes warm and tactile when printed on fabric. the transition from one material to another changes how we experience the design, bringing an unexpected softness to rigid geometric forms.
Materiality Matters
the choice of materials is just as deliberate in both fields. architects think about light, shadow, and surface—how materials weather over time, how they interact with their surroundings. with textiles, texture plays a similar role.a pattern printed on jute has a different presence than one printed on cotton; the roughness of the fabric enhances the depth of the ink, just like roughcast concrete reveals layers of shadow and light.
Bringing Architectural Thinking into Interiors
so how does this translate into interior design? architects and designers often work with a restrained, neutral palette, focusing on form and function. patterned textiles — especially those inspired by architecture — can complement this aesthetic by adding a layer of depth and storytelling. whether it’s a cushion that echoes the lines of a city skyline or a rug that captures the essence of a tiled facade, these pieces allow architectural appreciation to extend beyond the built environment and into the home.
A Living Connection to Design
so i guess how i want to create a dialogue between buildings and interiors, between public spaces and personal ones, the external and the internal: by bringing the architectural influences onto textiles. i really believe that the interior of a designed space can reflect the same thoughtfulness, structure, and material integrity that define great architecture on the exterior. and in doing so, it becomes not just a space to live in, but a place designed with intention.
hello again - this is a short announcement that we will be debuting our little brand at london’s leading design festival. we are thrilled to announce our participation as we are extremely busy working towards the event where we’ll unveil our brand new tileset, a little summer collection and a lookbook for new patterns and prints. the festival will grow bigger and better this year with even more venues between 20-22 may 2025. visit our stand g3 at platform, 70 cowcross street EC1M 6EJ - a hotbed of emerging talent that gives space to emerging brands about to break into the industry (the perfect place to introduce zitozza to architects and interior designers!)
happy belated new year i guess, many apologies for making an appearance so late in january - as you know it is an admin-heavy, busy time of year so i will be short and to the point: we’re working on a brand new tileset! i’m so excited to show you these work in progress materials and the launch will be rather special… coming with another exciting news announcement soon! (sorry to be cryptic a bit!)
these tiles will be part of our MODERN collection, to fit seamlessly into the whole system of modular prints with our usual bold colours and our abstract, universal, architectural style - coming soon onto sustainable fabric near your home.
if you’re interested in anything bespoke, please do get in touch, we’d be delighted to hear about your project and print fabrics for your interior schemes.
it’s been a while since we last shared some interior tips but i do always enjoy this time of year for a good old fashioned clearout. in light of that, as autumn settles in, i think it's the perfect time to look at how to introduce bold patterns, deep colours, and plenty of cosy textures - of course with that flavour of modern architectural twist to seasonal decor. below you'll find some inspiring ideas to create a space that feels both snug and strikingly stylish this autumn—featuring our pattern blocks for a fresh architectural edge.
1. large scale, abstract prints
it's dark, it's cold, it's depressing, boo! i always thought autumn is an ideal time to be daring with your decor, and adding bold, abstract prints can cheer you up instantly. our newest TÉGLA tileset offers a modular way to introduce strong geometric patterns inspired by architectural forms. whether it’s through a statement rug, a striking lampshade, or a patterned cushion, these bold prints can bring a somewhat rigid, yet still very playful vibe to your living space. they’re perfect for adding a contemporary edge to classic autumn decor.
top tip: opt for a large printed rugs to ground the space and provide a stunning visual anchor for the room.
2. warm, cosy hues
cherry red is so in this year! and i don't know about you but this year in scotland we've been really lucky with a dry, sunny autumn that highlighted the rich foilage for us. nature's colour palette is all about deep, warm, earthy tones, and incorporating hues like burnt orange, terracotta, warm ochre, and rich burgundy creates an inviting atmosphere. layering these shades with neutral tones—like warm beige or soft grey—can soften the look while still making a bold statement.
top tip: mix and match textiles in complementary colours and patterns. try adding one of our cushions or kitchen towels in a bold burnt orange print to bring warmth to your space.
3. mix and match your layers
as the temperature drops, layering becomes essential—not only in your wardrobe but in your decor as well. this season, focus on combining different materials for a rich, tactile experience. our latest rugs, made from heavyweight jute, bring a more textured and rustic feel, perfect for the colder months. pair these with softer fabrics like wool or velvet to create depth and contrast.
top tip: place a printed jute runner in a hallway or layer it over a larger, softer rug for an added cosy effect that feels as good as it looks.
4. light, light, light!
the clocks have just gone back and far up north it means very, very early darkness unfortunately. in these circumstances, lighting becomes a focal point in autumn decor. you can create some really dramatic lighting effects with our architectural lampshades, designed to cast beautiful shadows and enhance the warmth of your space (especially the jute ones). look for lighting with warmer bulbs to create a cosy glow, or use your lamps as accent pieces that add a bit of visual intrigue during the day.
top tip: place a statement lamp with one of our geometric-patterned shades in a dim corner to create an eye-catching focal point and add warmth to the room.
5. make a bold statement
so this is something a bit leftfield, but if you really need that mood boost, then this could also be a great time to experiment with printed linen curtains, or even a statement wall. use our TÉGLA block prints to craft your own unique pattern, mixing and matching colours to suit your personal style. every piece in our collection is designed with versatility in mind, so you can coordinate different prints and sizes to form a cohesive look that’s bold, warm, and entirely your own.
top tip: why not try a bespoke wall hanging on our recycled linens? textured walls are so in this year - a large hanging would be simply a tactile way of introducing an exciting architectural pattern on a feature wall.
don’t be shy and bring out the bold side of autumn, and let your home reflect a cosy yet striking style that’s uniquely yours with our prints.
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hello again - we have some more exciting brutalism-related news to share! zitozza are proud to be involved with a new exhibition, part of a wider series of events called concrete designs to thrive, exploring how good design can keep a city can fit and well, curated by journeys in design - with city walks, talks, workshops and exhibitions.
you can join the glasgow green and grey walks - sunday strolls around one of glasgow’s favourite parklands, to spaces and places with fascinating heritage, talking en route about thriving in the city (this walk was developed and delivered in 2023 with the help of a small group of guides with experience of homelessness); 2-4pm sundays 16th and 23rd.
we’re thrilled to be a part of the materials and modernism exhibition featuring the work of five scottish creatives, all inspired by modernist architecture, offering key works in mosaic, wood, ceramic, cast concrete and printed textile (that’s zitozza!); open 10am to 4pm monday to friday at the briggait in glasgow, from 12th - 27th june - please do come and visit!
part of this is also design for a city, fit and well- the latest in a series of twilight talks, when an expert panel presents the case for retrofit rather than wrecking ball, remodelling, repurposing, and reclaiming for the better. Extra time and refreshments will enhance the chance for good connection on the evening of thursday 20th june at the briggait.
finally, a call out to help craft healthy city, healthy citizen ‘zines in a set of wednesday workshops at the briggait, exploring well-being and urban design in ‘zine format, to include use of printed smart phone pics captured by our walk participants, posted using the hashtag #concretescotland, 2-4pm wednesdays 12th 19th and 26th june.
journeys in design founder dr john ennis said, “it’s a privilege to bring our concrete designs to thrive to the heart of glasgow in 2024 and to collaborate with such a diverse array of designers, artists and producers around glasgow green and the briggait: it’s very clear why this park and this venue are such treasured parts of the city’s culture.”
it’s been a while since we made a blog post about anything happening at the studio, because, well, it is a well oiled machine now of things getting designed, printed block by block, then made up and sold… but even with our modular system and infinite possibilities, it’s good to refresh things from time to time and add new ingredients to the well-liked recipes. so we’re working on a brand new tileset - see a little glimpse below!
we’ll be working on some brand new prints with these in the coming months - of course, these tiles will be part of our MODERN collection, not just creating a beautiful collection on their own but working well with more than a hundred of others, extending the possibilities for ever more varied patterns.
if you’re interested in anything bespoke, please do get in touch, we’d be delighted to hear about your project and print fabrics for your interior schemes.
if you got curious about our new stuff - just bear with us while we are putting them together please, you can be sure they’ll arrive in beautiful, bold colours and our signature architectural style! do watch this space…!
it’s february again… and it seems to be a particularly grey one, but that just makes it perfect time to read about decorating trends, colours, patterns and all the fun stuff. and, as we do it now every year, we’ve collected the main trends to focus on so do join us on a trip into the hottest new interior trends.
1. bOLD colours and brave combos
at zitozza, we have been waiting for this moment for a looong time, but even for the minimalists, it’s probably a good time to say goodbye to the all-beige aesthetic and the grey everything. in the mid-2020s, we are in desperate need for mood-boosting colours and the stranger, and more eye-catching, the better. close the itten book, there are no rules, more is more - we’re getting ready to make some bold, wild prints on new interior fabrics and we cannot wait.
2. hand crafted statement pieces
we have discussed this before - sustainability is not a trend, but an imperative for all industries now, as it should be. for sure, sustainable design processes and practices can be interpreted in many interesting ways and many are slowly seeping into interior trends. one that’s here to stay is how the luxury statement pieces now mean the high-quality, handmade objects made by artisans. exquisite hand crafted details, small imperfections, material honesty - what’s not to love and do we have the rugs for you!
3. luxury gezelligheid
this one is an entirely biased inclusion in the list since zitozza are dutch lovers, but that thing that house beautiful calls “cosy, quiet luxury” and those “real and memorable spaces” dezeen refers to - the dutch have a word for it and if you ever went through a bit of a hygge phase, you need to learn to say gezellig.
it means so much more than cosy - it is a social and friendly kind of contentness. in the home, it may express itself in the shape of ambient lighting (think about our jute lampshades!), warm, tactile textures (think of layers of rugs on the floor!), and open, inviting, sociable spaces ready to be filled with warm conversations. naturally, this means high quality, long-lasting materials and finishes as time well spent is the real luxury now!
4. BROWN (FOR real!)
no, it is not the 1970s anymore, don’t worry. that kind of brown is not making a new comeback. this is a grown-up version, evolved from the earth tone trends we’ve seen in the last few years. at zitozza, we’re particular fans of the almost-black kind of espresso browns, and elle decor mentions chocolate hues, but if that’s not your thing, woods and finishes such as shou sugi ban may bring that tone in your home by more natural means.
5. stripes and checks
nothing we love more than patterns, of course and we’re so glad seeing them mentioned by vogue.horizontal or vertical, or have them clash and make a chequerboard - that’s right up our alley as our modular system of printing blocks can make up similar effects with that unique hand crafted appeal and we cannot wait to bring more of these prints to life - stay tuned!
6. mix and match
as we are all about tactile prints, we do always embrace a version of this kind of trend, but this year it really means a mix and match of all sorts of surfaces and patterns. textured walls are definitely a thing this year but it means a play with hard finishes - metals such silver and gold accents (and yes, stainless steel!) but also, of course, mixing coarse textiles (such as jute) with some soft linens too. exciting times!
if you’re ready to find something for your home, have a browse through our shop or request a sample to see what we’re able to do for your home!
below the articles we sourced these from are linked for further reading, and if you want to be the first to read about sustainable home decor and textiles, subscribe below (it comes with a freebie every month!)
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links:
12 interior design trends we’ll see in 2024 (by amanda lauren, 4th january 2024, forbes)
happy new year! i hope you’re all well and had a nice little break in the weeks before. we’re back, refreshed, rested and ready to rock and roll! the year could not start better as in the second week of 2024, we went to milano home - well, our fabric and rug samples did, with huge thanks to british jewellery and giftware international. amongst these rug samples is a brand new material so it’s a bit of a mini-debut of our super heavyweight jute as well, which will bring you some even more exciting rugs this year, so there’s already plenty to look forward to (not to mention all those other exciting things in the pipeline that we don’t want to reveal just yet…)
so do stay in touch - and if you can, please visit fiera milano - the expo closes on sunday 14th. zitozza’s plinth is found at the british pavilion amongst other brilliant designers and they’re manned by the BJGI team. they have order forms and everything so do visit and get in touch with a sample!
hello again, it’s been another month long pause at the blog (sorry!) as we’re trying to prepare for the festive period while juggling a lot of things at the same time, including a new collection that might come before the end of the year and will be our most brutalist one yet! one of our cushions have also been included in a fabulous brutalist selection by gadget magazine t3.com, so the trend forecast was correct and it’s officially in again. i thought that to celebrate this and to get in the mood for the up and coming new collection, it’s time to share some interior tips on how to bring the brutalist forms indoors, with its bold forms and raw, industrial aesthetics. it is more than just an architectural trend; it's a statement. if you're looking to infuse your living space with character and go bold and brave, embracing the brutalism trend might be the answer. in this blog post, we'll take you through some interior design tips to help you achieve that unique, edgy look while maintaining comfort and warmth in your home.
simplify and minimise
this isn’t a call to go full-blown minimalist, but decluttering your space will give the accent pieces the “main character” status they deserve. brutalism thrives on simplicity and clean lines. remove the noise and leave room for your bold furniture pieces and some accent accessories to shine. if you have exposed concrete walls, you’re already there. bring in some stark geometric shapes, and a muted color palette.
hug the concrete (duh, obviously!)
this isn’t exactly breaking news, but concrete is the hallmark of brutalism. if you can't expose your walls or floors, consider concrete-inspired wallpapers or textured paint finishes. you can also introduce concrete furniture or accessories to capture the essence of this trend.
lighting drama
i think this is my favourite. i’m a huge fan of interesting shadows and you can add great depths and warmth to your space by illuminating it with statement lighting fixtures. oversized pendant lights, angular sconces, or floor lamps with sharp lines, and similar. these not only provide ample illumination but also serve as eye-catching focal points and ambience.
honesty to structures and materials
brutalism is part of the form follows function school, so this should be extend to furniture too. choose furniture with structural honesty and that will mean strong, angular designs. consider pieces with metal frames or exposed structural elements. a bit of tactile upholstery will balance the harshness of the concrete and metal elements.
abstract expressions
bare walls need not be alone. if you have room, a few, colourful pieces would both compliment the room and have the art stand out too. brutalism often celebrates artistic expression. large-scale paintings with bold, graphic compositions can add a touch of creativity to your space and celebrate the multidisciplinary nature of the modernist movements.
human touch
a lot of the bad rap brutalism gets comes from a perceived lack of human scale and harshness - but that’s not really what the movement stood for at all. do soften the hard edges, introduce textures and tactile qualities. cozy rugs, cushions, and soft throws in earthy tones can make your space more homely without compromising the trend's integrity. it can also mean hand crafted, imperfect elements against the more pure forms. (yes, i do mean hand block printed textiles, how did you know!)
green up
another misunderstanding about brutalism is the rejection of nature. it is absolutely not. the forms may not be organic, but city planners and architects used to have grand visions for huge parks, greenery under buildings and the like. so having lots of plants in your house is just an homage to that, really.
focus, focus!
in all this starkness, it’s quite a natural wish to have a designated a focal point in the room, like an impressive brutalist-style fireplace or a bold wall covered in textured panels. this draws attention and creates a sense of purpose within the space.
colour it in
brutalist buildings are raw and stark outside, but don’t forget about colours, they do have their role (unité d’habitation, anyone?!) so don't be afraid to experiment with occasional bursts of color. a vibrant artwork or a bold, colourful rug or lamp piece can be a striking contrast against the more stark backdrops.
so there you go, brutalism is certainly not for the faint of heart, but when done right, it can transform your living space into a dynamic, artful haven. it's a trend that encourages self-expression, challenges the norm, and celebrates the beauty of raw, unapologetic design. so, if you're ready to take a daring step in interior design, embrace the brutalist trend, and watch your home undergo a bold and beautiful transformation. we have a lot of things to offer you to achieve that, so do shop around!
hello again, we have a very nice announcement to make - just a quick blog post to announce our latest market round up. and we have a very, very nice double header ahead in our favourite scottish venues in edinburgh and then glasgow! celebrate the summer with some colourful block prints and browse all the loveliness scotland’s designers have to offer.
19th - 20th august - dovecot studios, edinburgh
first up is our bestest most favourite venue in scotland, the dovecot studios in edinburgh. this fabulous venue will be home to a fantastic line-up of local makers, curated by support the makers. the dovecot is also a fringe festival venue with exhibitions and of course, their lovely café and shops so do come along.
26th - 27th august - the briggait, glasgow
and afterwards, our favourite market returns. we absolutely love coming to the wasps studios markets as these markets are always very well organised and lovingly curated with some of the most engaged, creative audience of shoppers. it’s just a great experience all round and i can’t wait to talk to visitors and browse the lineup again. do come along
after all these fairs we will take a little break before we come back in the autumn and winter - but our shop remains online always so do browse our collections and let us know if we can help with anything at all. happy browsing!
oops, another month went past way too quickly… sorry we haven’t noticed, we were too busy with our brand new lookbook, to get it all ready for the height of summer, when our corner of east fife comes to life… we have new nautical looking, industrially inspired home accessories for your summer house! how do you like it?
the thing is, during my research for the yearly article on interior trends, i encountered a few times the idea that he “industrial” (or “farmhouse” or “warehouse” or however-you-wanna-call-it) styles are losing their appeal. but fear not! in this article, as part of our newly launched interior design series, we’re going to bring you some tips on how to revive this look to keep it contemporary and up to date. so what can we do?
freshen up your colours
give the industrial style a burst of energy by infusing colours - be daring, go with primary! it’s an homage to the constructivist movement and the abstract expressionists, a perfect fit for this look. introduce elements of lemon yellow to the nautical theme, vibrant reds, or striking blues to add a contemporary twist. the interplay of bold hues against industrial backdrops creates a visually stunning and refreshed ambiance.
artisanal touches
embrace the artistry and authenticity of artisanal touches. incorporate handcrafted textiles, like cushions with geometric patterns or artisan-made wall hangings, to infuse a sense of human connection. these unique touches elevate your decor, adding a personal and timeless allure to your space and soften the harshness of the industrial look (e.g. if you have any exposed brickwork - hand printed fabrics or wall hangings would be a great way to soften that texture without hiding them!)
green up
breathe life into your industrial-style haven by introducing fresh greens and plants. potted plants, hanging gardens, or vibrant indoor greenery add a touch of nature to your urban oasis. the juxtaposition of greenery against industrial elements enhances the appeal of your decor. bringing the outdoors inside is very much “the thing” to do - so you can do it too. and you can also add green as a colour to your space by simply picking fabrics in these hues.
texture play
ok this is a bit like point 2 but a bit different. you can create a harmonious balance by blending raw and polished finishes. combine exposed brick walls and distressed wood surfaces with sleek metal or glossy accents. the marriage of rugged textures with refined elements adds depth and sophistication to your space.
statement pieces
go bold, go big, go personal. one way to avoid going your interior style out of date is simply make it yours, and yours only. express your individuality captivating statement pieces. add striking art, bold prints, statement rugs or unique sculptures that reflect your personality and style. a well-chosen statement piece becomes a focal point, drawing attention and injecting character into your industrial-inspired space.
cosy up
these trying times have grown the appetite for softness even in those with a hardcore taste in exposed structural beams and raw concrete. but you don’t have to bury it all for a touch of comfort - layer your rugs for warmth and invest in a soft, woolly throw to hug you on a hard day.
so i guess, while there are whispers about the industrial style going out of fashion, the truth is that you don’t have to embark on an expensive adventure of redecorating just yet. you can revitalise the look you fell in love with in the first place with a few well-chosen updates. embrace vibrant colours, add a hand crafted touch, fresh greens, and layer up for cosiness to keep your decor move with the times. let your creativity flow and enjoy the process of reinventing your space with a fresh and invigorated perspective. and i hope you enjoyed these tips - if you’d like to read more of these, subscribe to our newsletter below to be the first to read about our next one.
hello spring, hello market season! the days are getting longer and it’s time to go outside, and get your hands on lovely, locally made stuff. visit the spring fairs and support your local, independent businesses. here’s where you’ll find some zitozza stuff this spring:
15th - 16th april - the briggait, glasgow with wasps studios
6th may - the steeple church, dundee with the yard
14th may - assembly rooms, edinburgh with craft & flea
looking forward to seeing you there - bring your friends for a day out and enjoy the fresh air and the local makes. take care!
