At the January edition of Maison et Objet, the main highlight was the éditeurs section—the place where most of the top international fabric, wallpaper, and trim companies show off their new lines. This section of the show is why the word fabulous was invented! However, on my first walk through, I must confess to being a bit disappointed. Was it the economy? Overall, éditeurs felt so much smaller than last year, but it turns out the fabric offerings now occupied two sections of two different halls. While there was much more to see, I and several other “seasoned” visitors I met felt the split between the halls detracted from the total experience.

I understand there are logistical reasons show management must deal with, especially with a show that has grown so much over the past several sessions that a new permanent hall (fully occupied) was constructed, in addition to erecting two temporary “tent” halls. It is the unique, high-end suppliers that are among the premier attractions of M&O, and management should develop a better long-term plan for positioning these exhibitors to their best advantage.

But enough about show planning, let’s get to the good stuff! You may already know I’m a wallpaper fanatic, and this show was like heaven for me. In addition to the many new lines introduced at M&O, it was clear wallpaper is a design statement. There were dozens of stands in which the product offerings did not include wallcoverings, and yet bold, beautiful patterns were used to set off displays of silk flowers, organic soaps, bed linens, and more.

This is the way the European market thinks of wallpaper—a dramatic gesture, an aesthetic flourish, an expression of style. We still have a ways to go here in the US to reach that level of panache, but why wait? Now is the perfect moment to get on board. One wall, set off with any of the stunning wallcoverings introduced over the past few seasons, is enough to revive any room where the design may have become a little flat. And once one room in the house starts to look great, it’s hard for that homeowner not to notice other rooms that could use a little freshening up.

Among my favorite wallcovering introductions was the debut of Lorca wallpapers, distributed by Osborne & Little. A fabric house known for its brilliant colorations and inspired take on classical floral motifs, the initial Lorca offerings include a toile, a dotted stripe, some flocking, and of course, a beautiful orchid pattern. Actually, all of Osborne & Little’s brands made a strong showing—there was the striking Serengeti-themed collection from Nina Campbell, as well as another witty and sophisticated wallpaper collection from Osborne & Little that featured a compelling flocked silhouette pattern. One of the biggest stands at éditeurs belonged to Designer’s Guild, the only place that used pink as a focal color, ranging from a barely there blush to a saturated ripe raspberry. The stand also featured major stories in black and white, white and gold, and blues and greens. There were plenty of silks, metallics, and other high-shine surfaces, but the formality of these items was undercut by the loose, painterly patterns, frayed edges on cushions and lamps, and an intimate, almost boudoir approach to styling.

Indeed, the concept of ultra-feminine designs is still a noticeable trend, with the introduction of a furniture line from famed French lingerie designer Chantal Thomass licensed through Meubles AGR Créateur d’Univers, and several sexy wallpaper patterns, one by Eric Valero based on paintings by Klimt was among the better executed versions. Valero also touched on another mini trend with his avril à Kyoto pattern, featuring branches of cherry blossoms. It was a motif seen in several lines, including a lovely version, Seraphine, offered in fabric and wallpaper from Romo.

A new discovery at éditeurs was the Glasgow-based fabric house Voyage. A little less than a decade old, the company may have started out offering updated takes on the classics, but what really seems to have captured the attention of the many visitors was a set of new collections that were playful and colorful while still very sophisticated. I’ve been on a peacock kick for a while now, so I was naturally drawn to the Arabesque collection which includes both an overscale peacock feather sheer and coordinating embroidery on silk, as well as a shagreen-esque textured solid, and a stunning, almost Art Nouveau peacock-on-a-trailing-branch pattern. The Baboushka collection was also great, offering a stylish update on patchwork and appliqué; then there was the Leda collection, the Giverny collection… Trust me, I could go on.

As of press time, Voyage’s managing director, Ian Dykes, confirmed he was in discussion with a US company for distribution. He didn’t disclose which company or which lines the company was interested in, but I’m thankful someone was paying attention as this was one of the loveliest, best-executed fabric lines I’ve seen in a long time, including everything from sheers to upholstery weight offerings.

Dozens of other new introductions were present to revel in. Paris gave me a chance to check out Nya Nordiska’s new line for a second time, after a brief preview in Cologne, including a gorgeous ombré velvet that has to be seen to be believed. Cole & Son, as always, introduced a well thought out new collection, this time in conjunction with the Royal Oak Foundation, the US affiliate of the British National Trust. Tortoiseshell and crocodile patterns provide the starting point for an array of Art Deco–glam looks.

Other lines I ooohed and aawed over included Aritex with its metallized linens; the highly technical and incredibly touchable fabrics from Augusto Garavaglia; the bold and statement-making looks from Harlequin; a wonderful wallpaper addition to the William Yeoward line; the fabulous Fashionista, Tenue de Soiree, and Swinging London pieces from Elitis; stunning hand-beaded silks, suedes, and leathers at Beaumont & Fletcher; a really interesting new direction from Neisha Crosland; contemporary horsehairs by Créations Métaphores; and I haven’t even started on any of the other halls. In spite of my “logistical” complaints, I still obviously found more than enough to keep me interested and occupied.