™

thetrendcurve Neutrals Lighten Up

Lexington’s Signac Sofa

to m o r row ’s t re n d s to d ay

T he primary thing about color at the High Point

furniture market was that, in many cases, it was
missing. In its place a range of neutrals had sprung up.
These neutrals were not completely new. They had been
hinted at for at least a year. Now, driven by an economy
that caused makers to “make it real” and go “back to
basics” with assortments, companies blanketed show-
room floors with a palette of neutrals whose strength
has been unrivaled for many years.
Yet, while these neutrals were certainly not colors, they
were also not devoid of color. Instead, most had an
infusion that made them so much less than ordinary. For
example, the newest light mid-tone Grays found them-
selves warmed to the point of Stone (a bridge to Brown).
Darker Grays were tinged with Red so they verged on
Purple. Browns that leaned toward Yellow looked warm
and highly usable as a mid-tone (see Sepia Tone in The
Trend Curve Coors™ 2010), but also had a pastel role.
Adding the influence of Red seemed to work only in light
mid-tone values that pushed the story toward Taupe
(but watch for darker Red-cast Browns in 2011).
Within the neutrals category, the tug of war still in prog-
ress between Grays and Browns showed Browns pick-
ing up momentum for the future. While these Browns
ran the gamut of values, it was obvious that pale tones
were in the early stages of an expansion that may not be
done until 2012.
When it came to color, Orange was the talk of the
market. Having achieved mainstream acceptance, it
seemed no one was afraid to use it on any product or
in any style. At Global Views, Orange updated a major
Traditional statement in furniture and accessories, but
Bolier took Orange to a Contemporary—and Red-cast—
extreme in a smashing collection of seating and case-
goods pieces designed by Jiun Ho.

12 09 THE INTERNATIONAL AUTHORITY ON TREND FORECASTING FOR HOME FURNISHINGS

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Orange made a major
statement at Global Views
™
Note: Today’s broad acceptance of Orange will serve
as a perfect jumping-off point to Coral. Under the
influence of Orange, Coral (emerging now) will begin
a journey that will take it through 2011. This journey
will include Pink types as well, especially in products
for kids.
While Orange stole the limelight, Blues were quietly
surging ahead. Warm types with Green overtones
excited the color landscape. Some companies even
called them Teal, which is the same name the market
will use in 2011, when Green-cast Blues evolve into
High Point Style
B usiness at the High Point furniture market was
not great. On the other hand, it wasn’t nearly
as bad as earlier in the year. More than one company
characterized the change from April to October as “a
little bit better,” which was enough to justify some
amount of product development. It was interesting
that much newness came in the more-moderate
sizes that had only inched ahead before October.
This market confirmed it as the new normal as
companies like Century revealed that smaller scale is
being equated with refinement. Pearson and Taylor
King also saw a drop in upholstery-frame size.
Designer Jiun Ho described his Kinkou line of Con-
temporary pieces for Bolier as having, “…deliberately
scaled-back dimensions to make each an easy fit in
homes and apartments that are often less expansive
than they once were.” Lexington may have taken a
page out of the same playbook when they said the
scale of their product keeps coming down. Consum-
ers may have a few big pieces, but the requests today
are for smaller ones that are easier on the budget and
more in keeping with the reduced-square-footage
homes selling today.
Pieces that start small, but grow and expand are
similarly right for this paradigm: drop-leaf and espe-
cially flip-top tables (flip-tops will build into early
2011), more nesting tables (the newest with pivot
functionality) and ottomans with pullout trays. These
clever items are not only immensely useful, but also
have a more-for-your-money sensibility that makes
them feel like a doubly smart purchase.
The market’s limited product-development
resources stayed focused on a few styles. Americana
was one of them. Craftsman or Arts & Crafts picked
up enough momentum to join Coastal basics as safe

thetrendcurve

Blue-cast Greens. When that takes place, Blue will

be free to explore a Red side that has been in the
shadows for years. Also in High Point:

• Navy had more to say

• Yellow maintained its status as an accent
• Bill Sofield’Minty hue with wow
• Purple looked great, even though there was less
of it
• Mid-tones took on a directional layer of complex-
ity that will dull the palette dramatically by 2011. The Gem Stone Table from Palecek

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and viable options that will sell as the Great Reces-
sion continues to ease. Visible structural elements,
like X and sawhorse bases, exposed joinery and
rustic finishes provide authenticity and the rough-
luxe look that Stanley and Aspen Home say consum-
ers are looking for.
The Eco trend evolved with chunky wicker for indoor
use (Laneventure), lightly polished petrified wood
(Palecek), rope or jute (Jamie Young) and papier
maché art (Phillips Collection) that kept neutrals
from looking dull. That said, color was easing into
the Eco realm via inlaid slices of semiprecious stones
(Palecek), recycled denim (Four Hands) and geodes
(John-Richard’s lamp bases). These decorative
touches suggested that color will be required to
boost Eco sales in the next two years.
Contemporary’s well-earned down cycle acknowl-
edged its successful surge over the past several
seasons. The new embrace of geometric form and
negative space takes a more abstract direction
that will appeal to core-Contemporary consumers.
Expect rectangles, grids and parallelograms to be
most important.
Restrained Traditional stepped out the most in
collections designed to be much less fussy than
Traditional looks of the past. Barely there finishes
on wood and subtracting carving, depth, trims and
detail, while focusing on clearer forms renewed the
style. It also cleared the visual field, allowing pattern
to take a fashion-forward role. Makers like Hickory
Chair say high-end customers prefer that major
upholstery pieces remain neutral. Then the pattern
and color stories begin, applied to pillows, ottomans slumber. They allowed exotic looks to stretch and From Stanley’s Modern
or accent chairs that become focal points in the grow beyond established African and Asian geog- Craftsman collection
room, but can be easily changed or updated. raphies, while introducing a directional tribal flavor
that put Global looks on the trend radar again.
Increasing the breathing room between design ele-
ments, and using small-scale textures within figures Suzanis will still make a major (and mainstream)
or grounds, makes these patterns just as restrained as statement into 2011. They will do so by exploring
the shapes on which they appear. Why is that impor- neutral combinations, colors that feel unpredictable.
tant? Because even though consumers are taking Unexpected textures will be achieved with both hard
stock of what is meaningful in their lives (history, and soft materials. But they will also move toward
customs, traditions) and want to emphasize these
mature status. As this takes place, two other direc-
things in their décor, they will still pass it all through a
tions will be taking hold.
21st Century filter. A streamlined and simplified view
of Traditional style feels modern enough for today. It The first interprets Suzanis into icons that retain a
provides the momentum this style needs to solidify its circular form, conveying a feeling of symmetry and
place as a top trend over the next two years. a floral disposition, but not an exotic point of view.
They are no less complicated than Suzanis, but still
Pattern Priority feel more understandable. Patterns like these are
already emerging and should be used through 2010.

F or the past year, it has seemed all anyone could

talk about was Suzani motifs. These circular
floral designs of Uzbek origin burst onto the scene
in a way that revived pattern from its post-damask
For 2011, expect them to simplify. Watch for circles
filled with asymmetrically placed, large-scale motifs
that look as though a high-power magnifying glass
was placed over a well-spaced pattern.

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Ikat in framed art at John-Richard
A second direction inspired by Suzanis may seem
at first to have little in common with them. That’s
because the format is geometric, versus rounded
and floral. But ikats and kilims are just as exotic and
tribal, which is why the Suzani trend can lead the
market to this more-linear direction. Ikats and kilims
are found in a broad array of cultures. The Global
trend will capitalize on that, examining cultures from
Native American, South American and Central Asian
geographies through 2012. This will ultimately propel
ikats and kilims beyond the popularity of Suzanis.
Other patterns will also ask for attention into 2011.
Traditionally inspired floral designs will be among
Stickley’s pen-and-ink pattern
them. Delicate flowers on vines
will advance, many with song-
bird accents. Also taking root:
tropical flowers and leaves.
Pen-and-ink is a fresh take on
botanicals with plenty of room
to grow. Add color selectively,
as Stickley did in fabric on a
wingback chair. Framed art
in this style at Paragon took a
similar approach. They layered
™
thetrendcurve
a single, hand-colored-look
flower over a sketched Black-
and-White ground.
Pen-and-ink looks continued
beyond illustration to elegant
handwriting with historical
overtones. Rather than fol-
lowing the old paradigm of
labeling botanical specimens
with their Latin name, John
Richard made their framed art
new by pairing flowing script
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that might have been personal correspondence with
wildflowers. Picture galleries layered it over colorful
poppies scaled up so only portions of them could
be seen. Haute House paired hand-written and
mechanical type with images of postage stamps from
the late 1800’s in a large-scale, well-spaced pattern.
Taylor King’s chair featured an antique-look print with
script evoking the same time period.
Etched looks emerged beyond the furniture
market. At the Tabletop show, Vera Wang’s Floral
Leaf Dinnerware from Wedgwood worked like a
lightly colored pen-and-ink illustration.
Other patterns to track include small-scale classics
that Pearson says are appealing again, as long as
they stay graphic (not sweet), and are updated via
fiber content for a dry appearance. Think tiny boxes,
ogees and other rhythmic patterns for accent and
layering roles. These updated companions will be
established in 2011.
The Past is Prologue
L
INEAPELLE is the most important trade fair for the
international leather industry. Held semi-annu-
ally in Bologna, Italy, it features leathers, hardware,
trims, fabrics and PVC meant for use as footwear,
handbags, leather garments and furnishings.
The October edition set the scene for Fall 2010/
Winter 2011 with an appreciation of the past,
informed by the present and looking toward the
future. It did so with a nod to familiar colors, textures
and patterns.
In tough times, we rely on old friends because they
are comfortable and dependable. Yet, just like us,
they have changed and evolved. This parallel was
especially apparent at LINEAPELLE, as tanneries
leaned heavily on an expanded pallet of 12 neutrals
for newness. This collection spanned the gamut
of temperatures. It began with the cool, subliminal
shades of winter White and Beige, and then went
on to still-popular Grays and Taupes, two shades of
Black and a warm group of Browns. These include
Camel, medium Tan, Milk and Dark Chocolate.
Trite? Hardly. Basic? Never!
Instead, neutrals drew the eye with textured, printed,
antiqued and glazed surfaces that transformed them
into exciting options for the future. Combining three,
four or five techniques was the norm. Each addi-
tional embossed or coated layer upped the leather’s
aesthetic and provided a never-before-seen level of
depth and sophistication that made these neutrals
so immensely compelling.
These features also provided neutrals with new
stand-alone status. Varying the techniques used
from one surface to another demonstrated how pil-
lows on a like-colored sofa will capitalize on not only
the play of light and shadow, but also fluctuations in
tone, to create a more complex visual landscape than
all-neutral upholstery has offered in the past.
While some tanneries pushed the single-neutral
message, another group showed several enhanced
neutrals together. Still others featured them as impor-
tant grounds for a band of warm hues punctuated by
spicy Amber, Rust, a rich Red and a Green-cast Teal
that had been updated with the look of oxidation.
Color at LINEAPLELLE came in a distant second to
neutrals, so embracing layers of pattern and texture
was an important way for them to get noticed.
Gray with style from Ausonia
Surface Interest
Washes, embossing, metallic and more added a
dulled-down look that was directional. One group,
a sophisticated collection of muted hues, recalled
the traditional deepness of retro upholstery fabrics.
Classic Olive, Chianti, deep Violet and a dark Pea-
cock Blue harmonized together and contrasted with
A “More-is-More” attitude was expressed in the
many mixed manipulations of techniques the
tanneries at LINEAPELLE used to invent new surfaces.
neutrals. They also confirmed that deep values will These textures—both visual and tactile—are just
have more status in 2011 than they have had in more what the market needs to keep a neutral pallet inter-
than a decade. Other notes from LINEAPELLE: esting and enhanced. Here are the layers of note:
SHINY, GLAZED finishes appeared on natural buffalo,
• Red was the bright spot, especially as an goat, shrunken and pebble grains, sometimes with
accessory, like Red shoes or a handbag tonal or Blackened antiquing. Patent had disap-
updating a Black/White/Gray ensemble. peared, as had bright and brash metallics. Green at Conceria Italiana
• Orange kept its role to minimal-accent METALLISING aged and softened into more- were cool and creamy
status.
• Greens were more inclined toward cool
personalities, whether shown in creamy
mid-tones or in mid-tone Teal.
• Purple backed off; only a chameleon
Purple-Gray neutral was seen on one com-
pany’s color card.
• Blackened Navy lingered in the back-
ground; Peacock made the real statement.

No one metallic led, and all had an equal—and

immense—impact on leather, as long as the look
was toned down. Hardware finishes coordinated
with the same subdued, washed, oxidized, rusted
and antiqued metallic effects that were directional
for leathers. Whether seen on studs (with rounded,
not sharp edges), draped chains (use multiple types
and sizes), delicate fringe (for movement) or charms
(in ongoing heart and peace signs), these metallic
textures incorporated a vintage and artisanal-ethnic
feeling that will make them compelling to consum-
ers for the coming year.

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TOP: Antiqued and embossed
metallic effects from Samanta
BOTTOM: Pollock-inspired splatters
from Santori Pellami
™
subtle, frosted washes in newly
antiqued, burnished, rusted and Tabletop Trends
A
oxidized finishes. Bronze, Copper
t the New York Tabletop market, unique shapes
and Rose-gold metallics paired
easily stood out among a sea of classic-rounds
with warm colors, while Pewter
and modified coupes. Though riskier than the basics,
and Gunmetal skimmed over
these silhouettes have a one-of-a-kind sensibility
Grays and Black, or worked on
that has not decreased in consumer appeal (Villeroy
color bases to impart an irides-
& Boch debuted several additional designs in their
cent effect.
New Wave collection).
REPTILES continued in genuine,
Two directions were worth noting. The smaller of the
embossed and printed versions.
two had a space-age feeling, led by retro-futuristic
They looked newest in restyled,
forms in the Rocks collection from Nambé. Their
oversized and unnatural versions
Cake Plate with Knife and 2-Tier server, both combin-
that evoked, rather than mim-
ing granite and metal, recall landing pads in the
icked, the real thing. Reptiles were
Jetsons’ Orbit City neighborhood. Comet flatware,
reinvented with antiquing and
from Oneida, featured flat, sleek-contemporary
metallising, sometimes convey-
handles with a slight taper. Watch for these refer-
ing a fish-scale effect that felt
ences to expand as a penchant for whimsy increases
completely new.
noticeably into 2011.
ANIMAL PRINTS embraced fan-
A second, larger direction for shape was signatured
tasy species that made authentic
by the advance of soft-square plates that has not
leopards and zebras look old.
hit its peak. It was also found in pieces with organic
Renovated fauna were recolored
edges that suggested movement. For example,
and sized up or down on hair sur-
Liquid dinnerware from Portmeirion gave the
faces. Or they were washed with
impression that molten pottery had not quite cooled
metallic and sometimes antiqued, or over-embossed
into sensually shaped White plates, cups and bowls
with texture and finished with a glaze on leather.
that might still be malleable. Rogaska’s Splash lead-
TIMELY TEXTURES were explored in an abundance crystal bowl and vase featured irregularly scalloped
of three-dimensional effects: new organic quilting openings with an equally fluid feeling.
patterns, pleated, wrinkled, crinkled, puckered, per-
Some pieces were not only amorphous, but also
forated and bubbled-shrunken leathers. Add to this
intentionally evocative of drifting sand or water.
metallic washes and embossed-leather bases, plus
Nactmann’s Sahara (Gold metallic) and Ocean (clear)
artisinal embroidery, weaving, appliqué and intricate
stitching details. These herald an incoming Ethnic
influence, employing color on warm neutral bases.
PRINT and PATTERN on smooth leather, suede and
hair calf employed printed, embossed and flocked
upholstery effects in swirling, medallion, jacquard
and brocade prints. Retro embossings with metal-
lized and optical-geometric characteristics emerged.
Abstractions borrowed from the 50’s and 60’s
recalled Pollock splatters, featuring brights and

thetrendcurve

metallics, on leather or suede grounds.

ANTIQUING was the rule, giving gravitas and a
wealth of content to ordinary objects, while call-
ing attention to the intrinsic, timeless value of the
materials. Hazy, blurred, tone-on-tone and lightly
distressed-and-cracked surfaces imbued leather
with a vintage patina, further enhanced by matte-
and-shine contrast.
SOFT & LIGHTWEIGHT leather was a new and impor-
tant development. These leathers, ideal for shirr-
ing, pleating and draping, are another way to marry
fashion and function. Platinum Dust by Rosenthal

6
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glass tableware combined irregular form with a
rhythmic line design that looked textural, yet was
tactile only on the underside. Mikasa called on more
pronounced wavy lines for clear glass in Oceanus.
Metal ice buckets, bowls and tiered servers in Nam-
bé’s Copper Canyon collection featured undulating
edges with rippled and ridged sides to mimic drift-
ing desert sands. Those ridges, highlighted by an
irregular verdigris finish (incoming, recommended),
provided multiple layers of directional texture.
Texture, whether tactile of visual, was freshest when
it appeared to be achieved by chance, rather than
meticulous craftsmanship. Silver Dust from Rosen-
thal put a new spin on classic bands with a Platinum
ring that appear to have been blown on lightly before
it dried. The result was a blurry effect similar to the
feathered-metallic detail of Wedgwood’s Silver Aster
dinnerware. Uneven sandblasted and hand-painted
rings of Gold metallic and Ivory on Vento’s dinnerware
and stemware made each piece appear to be spinning.
Even without metallic emphasis, the tendency
toward visual texture was apparent. An array of well-
spaced dot clusters on Vera Wang’s Ikat Dinnerware
mimicked the texture of woven textiles. Mikasa’s Ikat
collection did the same with diamond-geometric
bands of color on White. An ikat approach to visual
texture will be on-trend into 2011.
Where there is trend, countertrend is never far
behind. In addition to textural looks, graphic pat-
terns also had a role. Giant-sized dots paired with
flowers at Global Design Connections or were ringed
by Platinum at CRU. Savinio Designs took a positive/
negative approach, while Royal Crown Derby filled
dots (and figure eights) with snippets of classic
color-on-White patterns. Other designs of note:
• Grillwork and tile work offered an intricate
approach to pattern (Villeroy & Boch, Royal Doul-
ton, Michael Aram for Waterford)
• Jewelry was an incoming influence in a chain-
inspired watchband design on Ralph Lauren din-
nerware, and a multi-strand necklace look band at
Noritake
• Plaids continued as subtext, including hounds-
tooth repeats from Marc Blackwell.
SOFA
W
hen the economy is weak and fear is strong,
when unemployment is up and consumer
spending down, how does product development
venture ahead? What gives décor companies the
wisdom and courage to cull, create, refresh or
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replace? And where can inspiration for new home
furnishings products be found?
One of the freshest places to look is the Sculptural
Objects & Functional Art show in Chicago. Fine
artists, like those showing at SOFA, often set the
stage for color, texture and design trends that are
translated from handcrafted to machine-produced
products 2 – 3 years down the road. But that’s only
one reason to track what they are doing. Even more
incentive is found in the fact that fine artists typically
strive for what’s next, regardless of the economy. At
SOFA, thousands of pieces of fine art and craft were
showcased from galleries around the world. Several
emerging trends were found in the character and
details of these works. Some felt ripe for interpreta-
tion into machine-made products.
The first was rooted in three different mash-ups that
Copper Canyon from Nambé
merged elements from the past with those from today. evokes drifting desert sands
First, modern manufacturing and detailing technolo-
gies co-mingled with traditional ones. Second, in
some cases, traditional motifs were juxtaposed with
new ones. And third, in a handful of directional others,
radically contemporary elements crashed headfirst
into those from ancient tribal cultures.
All three looks were fascinating, but mixing classic
and modern has been seen before (though never
taken to this sort of jarring extreme). What felt really
new was the update on ethnicity, where the lines
of distinction between time frames were not even
blurred so much as they became irrelevant. What is
combinable may be combined because it is exciting
to do so—and perhaps because it illuminates the
way to the next Global-trend evolution.
The second big direction came from an attention to
detail, finesse, texture, fit, finish, joins, and literal
and figurative embroidery that was astonishing. At
the high end, time is available to ruminate over every
point, perfect every element and deliver artisanship
where that very artisanship is the product.
Case in point: Joey Richardson’s amazing turned-
wood products. While the mainstream is focused
on connecting with nature via earthy chunks of
found-wood, Richardson has taken another route.
Her abstract blossom was both organic and sensual.
It mixed irregular, small-scale piercings in light wood
with blurry or gradient-effect painted color. A small
butterfly was perched on the inside edge of one
“petal.” The addition of delicate design and delicate
color shows how human touches will begin to inter-
vene in wood accessories to take the natural trend in
a more refined direction.
Pairing dimension and transparency resulted in
unusual pieces where layers upon layers (or figures
hidden within figures) caused onlookers to stop Brendan Tang’s mash-up
7

Turned wood from Joey Richardson
and look again. One artist even tucked a self-
contained video/performance installation into
a blown-glass jar. The more you seek, the more
you find. And with each visual step, from fleet-
the last word
M y staff asked me for a Christmas list, but they
weren’t looking for my favorite gemstone
(sapphire), my sweater size (M) or the name of the
book I’d like to read on my next flight to Europe
(SuperFreakonomics). They were challenging me
to come up with the best gifts consumers could
receive from the industry for 2010.
I didn’t have to think too long to come up with a
couple of features that are well within reach today,
and would keep consumers in a buying mood
beyond the Holidays. Then my staff chimed in with
their wishes. Here are a few of our top picks:
1. Original Design: Stop copying! Do your own work
and give consumers real choices, not the same
choice with different names on it. More differenti-
ated options will increase sales, not split them. This
is an easy fix.
2. Portability: If furniture makers are going to all the
bother of designing tables, cabinets and consoles
with multifunctional capabilities, why is there no
easy way to move them around to take full advan-
tage of that versatility? The company that figures
out how to move heavy pieces easily, without
resorting to visible casters, will reap the same ben-
efits seen when the lug was taken out of luggage. It
can’t be that hard or expensive (I already have a few
ideas). Just do it.
3. Full Disclosure: Consumers want to be kind to the
environment, or at least better to it, but they don’t
really know which green features have the most
impact. Calculating every product’s carbon foot-
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ing glance to careful examination, pieces are
revealed to be incredibly nuanced and intrigu-
ing. In the end, each object is quite unlike what it
appeared to be at first. Other topics from SOFA:
• Employing series in a work played frequently,
whether a single piece made of repeated ele-
ments or in multiple pieces that comprise a set
• The eye and fine hand manipulation com-
Michelle Lamb
is the founder and chairman of
bined to enrich and enhance the cold perfec- Marketing Directions, Inc.,
tion of computer-driven digital production publishers of The Trend Curve and
numerous special reports covering
• Stunning work cast from, or including, natural
major markets.
materials contrasted with work that appeared
to be natural––even raw––but wasn’t Marketing Directions, Inc.
informs national and international
• A plethora of grotesque human figures manufacturers and retailers on
revived the 1990’s art-world debate over the industry trends.
role of beauty.
The Trend Curve is published by
Marketing Directions, Inc. six times
yearly with information from major
markets and trade shows important
to the home furnishings industry.
Subscription is available at $199.00
print would make it easy for them to choose. Even per year when delivered within the
U.S., $269.00 for all other countries.
though the lowest carbon footprint will not win if Back issues ($30 each) and custom
the color and design are not trend-right, knowing publications are available.
what it is lets consumers make informed decisions.
Marketing Directions, Inc.
4. Off The Grid: Steve, our resident techie, wants 14850 Scenic Heights Road
the new mats that charge your electronic gadgets Suite 155
without plugging them in to be integrated into the Eden Prairie, MN 55344 USA
base of the lamp in his office. This feels like a no- (952) 893-1245
brainer—the lamp is already plugged in. What’s or call toll-free (800) 531-6614
more, everybody’s phones and iPods are now Fax (952) 893-1264
small enough to fit into a compact space like this. E-mail: info@trendcurve.com
5. Going Hairless: Janice, The Trend Curve’s Office http://www.trendcurve.com
Manager, is desperate for textiles and furniture that The Trend Curve - ISSN#1080-1324
resist the hair her Labrador-mix seems to shed on
a daily basis. I think the other 74 million pet dogs, Michelle Lamb
Editorial Director
and 88 million cats, in the US have owners who
probably want the same. Editorial Correspondents:
6. Feed Me: Alex, our teenage mailing expert,
For LINEAPELLE: Nancy Collins
wants a mini-fridge built into the nightstand next
For SOFA: John Currie
to his bed. He thinks lots of other teens do, too. The
compact fridge has been a basic for dorm rooms
for years, but to integrate it into bedrooms at home, While every effort has been made
the aesthetic needs to jump. The timing is right to provide accurate information,
Marketing Directions, Inc. cannot
for this concept. Personal appliances, like built-in
be held accountable for any error or
coffee makers and warming drawers (for towels)
omission and there is no warranty or
have been moving into the master suite for a couple representation, express or implied,
of years. Why not give kids the same convenience? that the information provided in this
You can add to the wish list by sending your ideas to publication is definitive. Marketing
Directions, Inc. is not responsible
MichelleLamb@TrendCurve.com. I’ll post the best!
for any costs, expenses or damages,
actual or consequential, resulting
from the use of this information.