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Veranda published a visual report revisiting 10 rooms where designers used wicker, from the Titanic’s Café Parisien to a contemporary Alabama sunroom. The selection shows how the material appears in historic, urban, coastal and resort interiors; it is a design retrospective, not evidence of a new industry development.
Veranda has published a gallery of 10 interiors in which designers used wicker furniture in settings ranging from a historic ocean liner and a Rome apartment to a contemporary Alabama sunroom. The report presents the rooms as examples of the material’s versatility, though it does not establish a new trend or quantify wicker’s standing among designers.
The gallery spans different periods and design approaches. Its examples include the Café Parisien aboard the Titanic, furnished with wicker seating, and a winter garden in the Rome apartment of fashion designer Irene Galitzine, where designer Renzo Mongiardino used sofas and chairs by Italian firm Bonacina. Another Rome interior, Marella Agnelli’s living room, paired large-scale wicker furniture with modern art and a neutral palette in a room designed by Ward Bennett in 1977.
Other featured settings put wicker in resort and coastal interiors: Hubert de Givenchy’s poolhouse at Le Clos Fiorentina on the French Riviera, Amanda Lindroth’s loggia in Nassau, and a Dominican Republic great room designed by Celerie Kemble. The report also includes a Mustique dining pavilion refreshed by Veere Grenney, with wicker furniture custom-made by Soane Britain to match original designs.
The remaining examples include a Maine living room by Tom Scheerer, a sunroom in Mountain Brook, Alabama, designed by Mark D. Sikes, and the drawing room at Cobblers Cove, associated with designer Lulu Lytle. The source excerpt ends during its description of Cobblers Cove, so it does not provide the room’s full details.
Wicker Across Design Settings
The gallery’s significance is illustrative rather than evidence of a measurable market shift. Across the rooms, wicker is shown beyond porches and patios: it appears in a shipboard café, city apartments, a poolhouse, a sunroom and a dining pavilion. That range may help explain why the material remains useful to designers working across traditional and contemporary interiors.
The examples also show how context changes the effect of woven furniture. In Agnelli’s Rome living room, the gallery points to wicker alongside modern art and a restrained palette; in Kemble’s Dominican Republic project, it sits among bright tile, island architecture and folk art. The report is a curated set of design examples, not a survey of practitioners or consumers, so its “cult status” framing should be understood as the article’s characterization.
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From Titanic to Contemporary Rooms
The examples trace wicker’s use across settings and periods rather than laying out a single, documented revival. The Titanic’s Café Parisien is described as a Parisian-style café with wicker seating and trellis walls. Later examples include Agnelli’s Rome apartment in 1977 and Obsidian on Mustique, a property originally designed in the 1970s by Oliver Messel for photographer Patrick Lichfield.
For Obsidian, Veranda says the current owners hired London-based Veere Grenney to refresh the property while preserving its island character; custom wicker dining furniture was made by Soane Britain to match the original designs. In more recent projects, designers including Scheerer and Sikes used wicker in residential rooms, showing how the material can be incorporated alongside pieces and textiles from other periods.
What the Gallery Cannot Establish
The supplied source does not give a publication date, identify a ranking method for choosing the 10 rooms, or provide interviews explaining the designers’ decisions. It also offers no sales figures, survey results or other data to verify that wicker has reached “cult status” among designers. That phrase is the gallery’s framing, not a measured finding.
The source excerpt ends partway through the Cobblers Cove entry, leaving that room’s description incomplete. It is also unclear whether the gallery’s selection represents a broader design movement or is intended chiefly as an editorial collection of notable interiors.
No Follow-Up Report Listed
The material provided describes a published design gallery and names no forthcoming research, interview series or industry announcement. Readers can look to Veranda for the full Cobblers Cove entry and any additional sourcing or publication details. Until further reporting supplies broader evidence, the gallery is best read as a set of examples rather than confirmation of a quantified trend.
Key Questions
What did Veranda publish?
Veranda published a gallery of 10 interiors featuring wicker, spanning historic, residential and resort settings.
Which rooms are included?
The examples named in the supplied material include the Titanic’s Café Parisien, rooms in Rome and Mustique, Givenchy’s French Riviera poolhouse, and a sunroom in Alabama.
Does the gallery prove wicker is a designer trend?
No. It presents selected examples but provides no survey, sales data or other measure showing how widely designers use wicker.
Who designed the Mustique dining pavilion?
Veere Grenney refreshed the property for its current owners. The wicker table and chairs were custom-made by Soane Britain to match original designs, according to Veranda.
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