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Veranda published a retrospective of 10 rooms in which designers used wicker in settings ranging from a Titanic café to a Maine living room and a Caribbean dining pavilion. The rooms show how the material has been paired with modern furniture, art, patterned fabrics and architecture; the feature does not establish a measurable industry trend or rank the interiors.
Veranda has published a gallery of 10 rooms where designers used wicker furniture in settings that include a historic ocean liner, city apartments and Caribbean homes. The feature makes a visual case for wicker as an interior material beyond porches and resort spaces, though it does not present new sales data or evidence that the material has gained a measurable level of popularity among designers.
The rooms span different periods and locations. Among them is the Café Parisien aboard the Titanic, designed to evoke a Parisian café with wicker seating, picture windows and trellis walls. In Rome, designer Renzo Mongiardino furnished fashion designer Irene Galitzine’s winter garden with wicker sofas and chairs by the Italian maker Bonacina.
Other examples place wicker alongside contrasting design elements. In Marella Agnelli’s Rome apartment, Ward Bennett’s 1977 living-room design paired large-scale wicker furniture with modern art and a neutral palette. A Maine summer-home living room designed by Tom Scheerer combines antique Bar Harbor chairs with an Eero Saarinen coffee table and a Moroccan wool rug.
The gallery also features newer and refreshed spaces, including Amanda Lindroth’s Bahamian loggia, Celerie Kemble’s use of peacock chairs at a Dominican Republic beach club, and a sunroom in Alabama updated by Mark D. Sikes. In Mustique, Veere Grenney refreshed a dining pavilion at Obsidian with custom wicker furniture made to match the original designs. The provided source excerpt begins a section on Cobblers Cove but cuts off before giving its details.
Wicker Beyond the Veranda
The examples matter as a record of how designers have treated wicker as a versatile furnishing rather than a material limited to outdoor or seasonal use. In the rooms highlighted, its woven texture appears in formal apartments, a sunroom and hospitality settings, often set against modern pieces, art or patterned upholstery.
That variety offers readers concrete ideas for using wicker indoors and for mixing it with different styles. But the feature’s title, which describes wicker as having reached “cult status,” is an editorial framing, not a finding supported by market figures or a survey of designers. The gallery documents selected interiors; it does not show how common wicker is across the industry today.
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From Titanic Café to Modern Homes
The source traces wicker across a broad design timeline. The Titanic’s Café Parisien used woven seating in a room modeled on a Parisian café, while Galitzine’s Rome winter garden paired wicker with the work of Bonacina, a furniture company the source says has made woven pieces for indoor and outdoor use since the 19th century.
Later examples emphasize reinterpretation rather than a single style. Agnelli’s 1977 Rome living room placed wicker in an urban setting, and Scheerer’s Maine project mixed antique chairs with mid-century modern furniture. At Obsidian, Grenney’s custom pieces were made to echo the pavilion’s earlier furnishings, connecting a renovation to the property’s history. The source identifies Oliver Messel as the original designer of the Mustique property in the 1970s.
“Gone are the days of it gathering dust in a corner of a lake-house porch or a forgotten attic.”
— Veranda’s description of the Maine living room designed by Tom Scheerer
What the Gallery Cannot Establish
The article is a curated design gallery, not a survey or market report. It gives no publication date in the supplied material, no methodology for selecting the 10 rooms, and no data showing whether wicker use is increasing among designers. The claim that wicker has reached “cult status” should be read as the feature’s characterization rather than a quantified industry conclusion.
The source material provided here is incomplete: it stops during the description of the Drawing Room at Cobblers Cove and does not include a full account of the tenth room. It also does not supply interviews or direct comments from the designers whose work is shown.
The Missing Gallery Details
The immediate next step for readers seeking the complete lineup is to consult Veranda’s original gallery, which may provide the full Cobblers Cove entry and the remaining room details omitted from the supplied excerpt. No follow-up announcement or related industry data is identified in the source material.
Until broader reporting or figures are available, the gallery is best read as a set of design examples rather than proof of a current market shift. The rooms show how wicker can be styled across different settings, but they do not establish what designers are choosing most often now.
Key Questions
What is the news?
Veranda published a gallery of 10 interiors featuring wicker, spanning historic, residential and hospitality spaces.
Does the feature prove wicker is a growing design trend?
No. It presents selected examples but includes no survey, sales figures or trend data to measure how widely designers are using wicker.
Which rooms are described in the supplied material?
The excerpt describes the Titanic’s Café Parisien, rooms in Rome and Maine, homes and hospitality spaces in the Bahamas, Dominican Republic and Mustique, and a sunroom in Alabama. The Cobblers Cove entry is cut off.
What design approach links the examples?
Several rooms pair wicker with contrasting elements, including modern furniture, art, patterned textiles or historic architecture. The gallery shows different ways of using the material, rather than a single prescribed style.
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