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Veranda published a roundup of 10 rooms that feature wicker in settings ranging from a historic ocean liner to private homes and Caribbean hospitality spaces. The examples show designers pairing woven furniture with modern pieces, art, strong color and varied architecture; the article does not establish a measurable change in the material’s popularity.
Veranda has published a roundup of 10 interiors that use wicker in settings from the Titanic’s Café Parisien to private homes and Caribbean properties. The report’s examples show designers placing woven furniture alongside modern tables, artwork, patterned upholstery and regional architecture, making the case that wicker can suit more than porches or beach houses.
The rooms span more than a century of design references and a wide range of uses. The Titanic Collection’s account of the ship’s Café Parisien describes wicker seating in a room modeled on a Parisian café, with ivy-covered trellis walls and ocean-facing windows. In Rome, designer Renzo Mongiardino furnished fashion designer Irene Galitzine’s winter garden with wicker pieces by Bonacina, an Italian company the article says has made woven furniture since the 19th century.
Several examples put wicker in formal or urban settings. Marella Agnelli’s Rome living room, designed by Ward Bennett in 1977, paired a wicker chaise and other furnishings with art and lemon trees. In a Maine summer home, Tom Scheerer placed antique Bar Harbor chairs beside a white Saarinen coffee table and a Moroccan wool rug. Veranda presents these combinations as evidence that woven pieces can sit comfortably with modern design and refined interiors.
Other rooms make a connection between wicker and resort life, while adapting it to different settings. Hubert de Givenchy’s Le Clos Fiorentina poolhouse features oversized honey-colored seating and striped cushions; Amanda Lindroth’s Nassau loggia draws on vintage pieces; and Celerie Kemble used peacock chairs in a Dominican Republic beach club. The supplied report also describes a Mark D. Sikes-designed Alabama sunroom, a Mustique dining pavilion refreshed by Veere Grenney, and a drawing room at Barbados hotel Cobblers Cove designed by Lulu Lytle.
Wicker Moves Beyond the Porch
The roundup matters as a record of how designers have used a familiar material across very different interiors. Its examples place wicker in city apartments, a poolhouse, a sunroom and hospitality spaces, rather than treating it solely as casual outdoor furniture. That range can help readers understand why the material remains useful: its woven texture can soften a room, while the shape, finish and surrounding furnishings determine whether the effect feels traditional, formal or relaxed.
The report is a curated design feature, not market research. It does not provide sales figures, designer surveys or other evidence that wicker has reached a measurable level of popularity. Its “cult status” framing is the feature’s editorial characterization; the documented development is the publication of the roundup and the interiors it describes.
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From Café Seating to Modern Homes
The report links wicker with hospitality and outdoor living, but its selections also show it moving indoors and into more formal rooms. The Titanic café used the material to evoke a Parisian bistro, while the Rome apartment designed by Ward Bennett placed it in an urban home. Scheerer’s Maine room sets antique wicker against a contemporary Saarinen table, making contrast between periods part of the design.
Several examples preserve a sense of place rather than applying one look everywhere. The Mustique property, Obsidian, was originally designed in the 1970s by Oliver Messel for photographer Patrick Lichfield. After Lichfield’s death in 2005, the current owners hired London designer Veere Grenney to refresh it while retaining its island character; the dining table and chairs were custom-made by Soane Britain to match the original designs, according to Veranda.
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Popularity Claims Need Evidence
The supplied source material does not give a publication date, links to independent research or data measuring wicker’s popularity among designers or consumers. It also does not establish that the rooms caused a broader resurgence. Veranda’s phrase “cult status” is a headline description, not a quantified finding.
The source excerpt ends partway through its account of Cobblers Cove, so details about that room and the complete final entry are not available here. The material provided identifies the roundup as a 10-room feature but contains only partial information about its closing example.
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Further Details From the Feature
No follow-up announcement or related development is identified in the supplied material. Readers seeking the complete descriptions and image credits can consult Veranda’s original feature, which is linked in the source material. Until additional evidence is provided, the roundup is best read as a selection of design examples rather than proof of a wider industry trend.
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Key Questions
What is the news?
Veranda published a roundup of 10 rooms where designers used wicker, from the Titanic’s Café Parisien to contemporary homes and hospitality interiors.
Does the report prove wicker has become more popular?
No. The feature offers selected interiors and an editorial description of wicker’s standing, but supplies no market data or survey establishing a rise in popularity.
Which designers are named in the supplied material?
The examples name Renzo Mongiardino, Ward Bennett, Tom Scheerer, Amanda Lindroth, Celerie Kemble, Mark D. Sikes, Veere Grenney and Lulu Lytle, among others.
How is wicker used in the rooms?
It appears as café seating, sofas and chairs, a chaise, peacock chairs, sunroom furniture and a dining set. Designers pair it with elements such as modern tables, art, patterned cushions and local architecture.
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