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Veranda’s report revisits 10 rooms where designers used wicker as a considered interior material, not just casual outdoor furniture. The examples range from Titanic-era café seating and Rome apartments to contemporary island homes, but the article is a design retrospective, not a new industry announcement or survey.
Veranda has spotlighted 10 interiors in which designers used wicker to shape rooms across different eras and settings, from the Titanic’s Café Parisien to homes and resorts in Rome, Maine, the Bahamas and the Caribbean. The report’s central point is that woven furniture has been treated as a flexible design choice—not only as porch or garden seating—when paired with art, modern furniture, textiles and architecture.
The examples begin with the Café Parisien aboard the RMS Titanic, designed to evoke a Parisian café. The report describes wicker seating, trellis walls covered in ivy and large windows facing the ocean. It also features the Rome winter garden of fashion designer Irene Galitzine, where Renzo Mongiardino used wicker furniture by Italian maker Bonacina, and the 1977 living room of collector Marella Agnelli, designed by Ward Bennett. In Agnelli’s apartment, large woven pieces sat alongside modern art and a restrained palette.
Other rooms bring wicker into coastal and resort settings. Hubert de Givenchy’s poolhouse at Le Clos Fiorentina featured honey-colored seating and striped cushions, while designer Tom Scheerer placed antique Bar Harbor chairs in a Maine summer home beside a Saarinen coffee table. The report also highlights Amanda Lindroth’s Nassau loggia, Celerie Kemble’s peacock chairs at the Playa Grande Beach Club in the Dominican Republic, and Mark D. Sikes’s renovated Alabama sunroom, where matching wicker seating was covered in patterned fabrics.
The final examples connect wicker with architecture and established design traditions. Veere Grenney refreshed Obsidian, a Mustique property originally designed by Oliver Messel, with custom wicker dining furniture made by Soane Britain to match original designs. The supplied source also begins an item about the drawing room at Cobblers Cove, designed by Lulu Lytle, but its description is cut off. It does not provide enough information to report further details about that room or the full tenth example.
Wicker Beyond the Veranda
The report matters to design readers because it documents how a familiar woven material can serve different roles across formal interiors, sunrooms and resort spaces. Its examples show wicker beside modernist tables, collected art, printed upholstery and historic architecture, making the case through specific rooms rather than through a new product launch or market data.
That range also complicates the idea that wicker belongs only in seasonal outdoor settings. Agnelli’s apartment and the Maine living room place it inside residential spaces, while the Mustique and Caribbean examples show its continued use in hospitality and island homes. These are editorial examples, however, not evidence that designers as a whole have adopted wicker at a particular rate or that it has reached a measurable level of popularity.
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A Material Across Eras
The rooms span a long timeline. The Titanic café represents an early use of wicker in a designed dining space; Agnelli’s Rome apartment is shown in a 1977 photograph; and Obsidian began as a 1970s project by Oliver Messel for photographer Patrick Lichfield. The report then pairs those historical examples with later renovations and contemporary designer projects.
Several entries emphasize continuity through furniture makers and collected pieces. Bonacina is described in the source as a company that has handcrafted woven furniture since the 19th century. In Mustique, Soane Britain made dining furniture to match the original designs. Elsewhere, antique chairs or vintage-inspired pieces are mixed with current textiles and furnishings. The article uses these details to trace design choices across time, rather than presenting a formal history of wicker production.
“The café created an atmosphere much like a veranda.”
— Veranda report on the Titanic’s Café Parisien
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Limits of the Design Retrospective
The source is a curated design report, not a survey of designers, sales data or an announcement of a new collection. It gives no figures showing how widely wicker is used, how consumer demand has changed, or whether the featured rooms represent a broader trend. The headline’s phrase “cult status” is an editorial characterization rather than a quantified finding.
The supplied material also ends partway through its Cobblers Cove entry. The headline promises 10 rooms, but the excerpt does not include the full description of that final example. The article’s publication date is not given in the source material, so its precise timing cannot be confirmed here.
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What the Source Establishes
The source establishes a set of 10 intended design examples, though the supplied excerpt does not fully describe the last one. No follow-up announcement, product release or scheduled event is identified. Readers seeking the complete Cobblers Cove description or publication details would need to consult the original Veranda report; no further development is confirmed in the material provided.
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Key Questions
What is the news in this report?
Veranda published a retrospective on 10 interiors that demonstrate different ways designers have used wicker. It is a design feature, not breaking news or a report of a new industry study.
Which rooms are featured?
The supplied material includes the Titanic’s Café Parisien; rooms associated with Irene Galitzine, Marella Agnelli and Hubert de Givenchy; a Maine living room; Amanda Lindroth’s Nassau loggia; the Playa Grande Beach Club great room; an Alabama sunroom; and a Mustique dining pavilion. It begins an additional entry on Cobblers Cove but cuts off before giving its full details.
Does the article prove wicker is a current design trend?
No. The report offers selected examples and describes their design significance, but provides no market figures, survey results or other evidence that would establish how widespread the trend is.
How do the designers use wicker in these interiors?
The examples pair woven furniture with elements such as modern tables, art, patterned upholstery, tropical architecture and historic interiors. The report presents wicker as a material used across different room types, rather than limiting it to porches or outdoor furniture.
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