KnollTextiles Introduces the Heritage Collection

Prestini K2450

The goal in reinterpreting Toni Prestini's 1947 classic was to capture the essence of the original upholstery using materials that would meet the performance requirements for today's contract market.

Prestini has a rich color effect and interesting texture achieved by using novelty yarn in a simple weave structure. KnollTextiles created a custom bleach cleanable polyester boucle yarn with the same texture, twist and high-relief effect as the original upholstery.

The fresh white ground combines custom-dyed boucle yarn in fourteen timeless colorways. Color number four (yellow/white) was custom dyed to match the 1947 yellow.

• End Use: Upholstery
• Price: $49/yard, C
• Colors: 14
• Content: 51% Post-Consumer Recyled Polyester, 49% Polyester
• Backing: Acrylic
• Width: 54"
• Abrasion: 100,000 Double Rubs
• Cleaning Code: W-S Bleach
• Environmental: Clean Air Silver USA

Prestini Upholstery, 1947
Toni Prestini (1909-1998)

The dimensional stability and balanced quality of Prestini were well suited to the organic curves of Knoll's modern furniture and became a standard fabric for Harry Bertoia chairs in the 1950s.

This inexpensive, machine-woven upholstery fabric manufactured in the US remained a staple of the KnollTextiles line until 1982, long after the other cotton upholsteries had been discontinued.

Rivers Upholstery K2439

As the KnollTextiles design team considered Rivers, they quickly saw an opportunity to create an intriguing upholstery fabric with bold multicolor stripes. The scale and repeat of the design were adjusted to create a full-width, non-repeating organic pattern.

Current digital printing technology allowed the team to enhance and exaggerate the watercolor effect. The design team carefully studied the gradations of color, creating a masterpiece of color blending within each stripe.

• End Use: Upholstery
• Price: $92/yard, G
• Colors: 4
• Content: 100% FR Polyester
• Repeat: H: 54”, V:72”
• Width: 54"
• Abrasion: 100,000 Double Rubs
• Cleaning Code: X
• Environmental: Clean Air Gold

Rivers Drapery Panels, 1972
Gretl(1920-2006) & Leo Wollner(1925-1995)

Designers Gretl and Leo Wollner specialized in extra-large, non-repeating patterns to be printed as drapery panels. They developed new printing techniques, including oversized screens requiring four workers to manipulate, which enabled them to produce floor-to-ceiling prints with no repeat.

Rivers was a striking and innovative design with undulating lines printed on cotton velvet. Subtle gradations of color within the stripes were achieved by mixing the dyes during printing, creating an effect reminiscent of watercolor.

The decorative panels showcased Knoll's use of vibrant color combinations. Rivers drapery panels were in production until 1978.

Homage Upholstery K2428

Homage celebrates KnollTextiles' history of creating exaggerated textures with a hand-crafted aesthetic.

The upholstery is the fusion of archival contributions: Buster by Marianne Strengell (1947), Jupiter (1967) and Marabu (1972). The individual patterns now appear collaged together as a study of ten unique weave structures bound with a chunky boucle accent color.

• End Use: Upholstery
• Price: $68/yard, F
• Colors: 6
• Content: 67% Polyacrylic, 33% Polyester
• Repeat: H: 28”, V:27.5”
• Width: 54"
• Abrasion: 100,000 Double Rubs
• Cleaning Code: W-S Bleach
• Environmental: Clean Air Gold

Marabu Upholstery, 1972
Designer Unknown

Jupiter Upholstery, 1967
Julia Kleiner (1900-1992)

Buster Upholstery, 1947
Marianne Strengell (1909-1998)

Marianne Strengell, a significant contributor to Knoll's collection of upholstery fabrics, designed Buster in 1947. Strengell's philosophy was that upholstery fabric should play an equal, essential, and fully integrated role with architectural details or furniture in the modern interior, and that textiles, like architecture must be functional as well as beautiful.

Aurora Upholstery K2438

The rainbow-colored space-dyed yarn made Aurora an attractive candidate for updating. The menswear-inspired upholstery incorporates a playful twist through the multicolored yarn that sparkles ever so slightly in the light.

• End Use: Upholstery
• Price: $83/yard, G
• Colors: 6
• Content: 45% Post-Consumer Recycled Industrial Wool, 35% Polyester, 15% Nylon, 5% Viscose
• Repeat: H: 28”, V:27.5”
• Width: 54"
• Abrasion: 100,000 Double Rubs
• Cleaning Code: S
• Environmental: Clean Air Gold

Aurora Upholstery, 1985
Designer Unknown

Filigree Drapery D2434

Open-knit draperies are in KnollTextiles' DNA.

The first step in updating Filigree was to upgrade the contents to inherently flame retardant Trevira^® CS Polyester. The weight of the drapery was also increased to create a more substantial offering that still appears as delicate as its predecessor.

The new Filigree has an expanded palette, including three usable neutrals, plus persimmon red and cornflower blue.

• End Use: Drapery
• Price: $139/yard
• Colors: 5
• Content: 100% Trevira® CS Polyester
• Repeat: H: 8.25”, V:8.5”
• Width: 118"
• Cleaning Code: W-S
• Environmental: Clean Air Gold

Filigree Drapery, 1965
Designer Unknown

The design of Filigree was an imaginative interpretation of ”major and minor” fish nets with linked and twisted elements.

Kerry Drapery D2431

Evelyn Hill's Kerry Linen loosely inspires Kerry. Hill was best known for hand weaving. This wool, silk and linen drapery embraces its natural contents and shows a beautiful slub texture. Kerry leans into rich jewel tones as the yarns take color so well.

• End Use: Upholstery
• Price: $83/yard
• Colors: 6
• Content: 90% Wool, 8% Silk, 2% Linen
• Width: 54"
• Cleaning Code: S
• Environmental: Clean Air Gold

Kerry Linen Drapery, 1953
Evelyn Hill (1923-2003)

Evelyn Hill studied at Black Mountain College in North Carolina under Josef Albers, whom she later cited as having an enormous impact on her work. She continued her studies at the Institute of Design in Chicago and as an apprentice to Cranbrook-trained weaver Majel Chance. Hill worked only briefly in the contract textiles industry, but the designs she introduced at Knoll vastly broadened the scope of the company's early textiles program.

In the early 1950s, as Knoll was beginning to position itself as a major textiles manufacturer, a special handweaving studio was set up under Hill’s direction. Her ability to bring designs conceived on a weaver's loom to production brought new possibilities of texture and depth to the Knoll collection.

Firenze Wallcovering WC2446

Firenze is designed to emulate the original linen and silk look with bleach-cleanable polyester content.

Six yarn colors in the weft give the wallcovering the impression of natural fibers. While Firenze appears simple, it is actually an intricate blending of colors and texture.

• End Use: Wallcovering, Wrapped Panel
• Price: $39/yard
• Colors: 6
• Content: 48% Polyester, 44% Post-Consumer Recycled Polyester, 8% Acrylic
• Width: 54"
• Cleaning Code: W-S Bleach
• Environmental: Clean Air Gold

Firenze Panel Fabric, 1985
Designer Unknown

Firenze was designed as a linen and silk specialty panel fabric.

Campagna Wall WC2448

The design studio translated Angelo Testa's iconic Campagna as a highly usable PVC-free wallcovering with Type II characteristics. The original design was screen printed on linen for drapery application.

Campagna Wall has the same hand-drawn, large-scale geometric pattern with only a slight adjustment to the pattern repeat and line weight to accommodate a wallcovering end-use.

The ground has a subtle texture with a watercolor wash. A linen emboss pays homage to the original drapery.

• End Use: Wallcovering
• Price: $33/yard
• Colors: 6
• Content: 80% Olefin, 20% Pre-Consumer Recycled Olefin
• Width: 54"
• Repeat: H: 51", V: 25" (approx)
• Cleaning Code: W Bleach
• Environmental: Clean Air Gold

Campagna Drapery, 1947
Angelo Testa (1921-1984)

Angelo Test was a prominent American textile designer of the 20thcentury. Campagna, likely named after Testa’s friend Paul Campagna, epitomizes designer Angelo Testa's design vocabulary of linear and geometric forms, commonly associated with his Bauhaus training. It is also one of Testa's most well-known designs and represents a moment in postwar America when textiles were a very calculated part of every modern interior. The concentric rectangles are softened with a hand-drawn appearance.

When making Campagna, Testa was inspired by the “furrowed fields of the Middle West as viewed from an airplane.’” NY Times, 1947.

KnollTextiles reintroduced Campagna during its 50th anniversary.