This report offers a ample picture of the household furniture sector in the United States and Canada, providing trends in furniture production, furniture consumption, furniture imports and exports. Factors determining the demand for furniture are examined, as well as furniture distribution channels, marketing policies and furniture prices.

Furniture production and consumption are broken down by product (household furniture, kitchen furniture, upholstered furniture, RTA furniture). A segmentation of the furniture market into geographic areas is also measured.

For each country the furniture supply structure is analyzed, with data on furniture companies and employment. Company profiles of the main furniture manufacturers and distributors, with turnover, market shares, number of outlets, production facilities, employees and product mix, are provided.

US and Canadian furniture imports and exports are broken down by country and product (office furniture, kitchen furniture, upholstered furniture, non-upholstered seats, bedroom furniture, seats parts and parts of furniture).

The analysis of household furniture distribution channels covers: autonomous furniture stores and chains, department stores and discounts, warehouse clubs, designer showrooms, direct sales.

The research comprises the Final determination in the antidumping duty investigation on US imports of wooden bedroom furniture from the People’s Republic of China as well as ways of approaching both the US and Canadian furniture market.

The wood and forestry sector is also considered: production, imports, exports and consumption data are provided for the main semi-finished wood products (sawnwood; wood-based panels: plywood, veneer sheets, particle board panels, fibreboard panels, MDF). Data on woodworking machinery imports and exports are also presented.

Addresses of over 140 furniture companies are also included.

Among the covered products: wooden furniture, metal furniture, contract furniture, office furniture, home furniture (household furniture), kitchen furniture, upholstered furniture (sofas and armchairs), living room furniture, dining room furniture, non-upholstered seats (chairs), bedroom furniture, beds, wardrobes, outdoor furnishings, RTA furniture (ready to assemble furniture), seats parts, parts of furniture, sawnwood, wood-based panels, plywood, veneer sheets, particle board panels, fibreboard panels, MDF (medium density fibreboard), woodworking machinery.

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SACRAMENTO, Calif., Jan. 12 /PRNewswire/ — Permlight Products and the California Lighting Technology Center (CLTC) at UC Davis announced that Permlight has become an affiliate member of the CLTC. Permlight Products is a developer of advanced thermally managed residential LED lighting products used in recessed cans, under-cabinet lighting, pathway and stairwell lighting, outdoor decorative lighting, and advanced lighting and energy control systems.

“The CLTC will accelerate the adoption of LED systems in residential lighting applications through education and proof of concept projects,” commented Manuel Lynch, President and CEO of Permlight. “We believe that the CLTC labs, training facilities, and connections to both energy providers and builders that want to adopt environmentally friendly technologies will pave the road to homes in the near future that will consume almost 1/8th of the power required to light existing homes.”

The CLTC mission is to stimulate the application of energy efficient lighting by facilitating technology development and demonstrations, and offering outreach and education activities in partnership with electric utilities, lighting manufacturers, lighting professionals, and governmental agencies. The CLTC, established through a joint effort of the California Energy Commission and the University of California, Davis, conducts both cooperative and independent activities with lighting manufacturers, electrical utilities and the design and engineering professional communities. The California Energy Commission’s Public Interest Energy Research (PIER) Program supports energy research, development and demonstration projects that will help improve the quality of life in California by bringing environmentally safe, affordable and reliable energy services and products to the marketplace. The PIER Buildings Program provided start-up funding for CLTC.

CLTC also announced that Permlight has sponsored a UC Davis design class that involves students in the design of “next generation lighting” for home and commercial applications using advanced LED systems.

“This industry sponsorship and collaboration in a design class is a particularly exciting opportunity for the students in enhancing their understanding of advanced technology and on how designs actually get manufactured and enter the marketplace,” commented Michael Siminovitch, Director of the California Lighting Technology Center. “Cooperation with Permlight as a class sponsor enhances the educational content and brings real world experience into the classroom addressing real world issues of efficiency and sustainability. Students with outstanding designs may have the opportunity to see them actually get produced and this type of experience is clearly a win win for both parties.”

Siminovitch also added, “I would like to mention that CLTC and Permlight have already garnered interest from California Home Builders, Lighting Designers, and Energy providers to judge the student designs.”

About Permlight
Permlight Products is a leading developer and manufacturer of thermally managed LED lighting systems for Signage (LED channel letters), Residential LED lighting (including recessed cans, under cabinet, and LED glass pendants), marina applications (docks/slips), and Theater and Performing Arts Center lighting. Founded in 1995, Permlight has the longest track record of supplying LED lighting systems that provide high brightness, low energy, long lifetime, and low maintenance. Using its enabling patented thermal management techniques for spreading and dissipating heat Permlight is well known for providing low cost solid state lighting systems.

This report offers a comprehensive picture of the upholstered furniture sector in the United States, providing trends in upholstered furniture production and consumption, upholstery imports and exports, prices, marketing policies and distribution. A comparison with the European market for upholstered furniture is also provided.

The US production of upholstered furniture is broken down by product (stationary upholstery, motion upholstery) and by covering material (fabric, leather, microfibres). Data on the supply structure (employment, number of companies) in the upholstered furniture sector are provided for the main US states. Data on turnover and market shares are provided for the leading upholstered furniture manufacturers active on the US market.

A focus on the leather upholstery segment is provided, with data on the US consumption and imports compared with those of Western Europe and the rest of the world, as well as sales and market shares of the leading upholstery firms active on the US market. A breakdown of the US upholstered furniture imports and exports is provided by country and area, as well as foreign companies’ sales on the US market.

The consumption trend is considered in the time span 1998-2005, and it is broken down by product (stationary upholstery, motion upholstery, recliners) and by covering material (fabric, leather, microfibres). Data and forecasts on the upholstered furniture consumption are provided by type of covering and for the main local markets. Factors determining the demand for upholstery products are also considered, as well as a profile of the US consumer.

The analysis of household furniture distribution channels covers: specialized chains and shops (independent shops, leading furniture retailers), non-specialised chains and shops (department stores, discounts, etc.), other distribution channels (leasing, warehouse clubs, direct sales, mail order, e-commerce). The top 100 furniture distributors are broken down by price range/product type and by type of distributor (furniture retailers, conventional stores, department stores, discounts).

List prices for upholstery products are provided for the main manufacturers, by product (sofas, recliners), price range and covering material (fabric, leather). Short profiles are provided for the most representative upholstered furniture manufacturers and distributors (both US and foreign companies), with data on turnover, market shares, product mix, brands, marketing policies and distribution channels, mergers & acquisitions.

The report also examines the opportunities on the US furniture market, with current and future trends. The annex provides the final determination in the antidumping duty investigation on imports of wooden bedroom furniture from the People’s Republic of China.

Addresses of about 180 upholstered furniture companies mentioned in the report are also included.

Among the covered products: upholstered furniture; fabric upholstery, leather upholstery, microfibre upholstery; traditional and classic upholstered furniture; modern and contemporary upholstered furniture, casual upholstered furniture, transitional upholstered furniture, design upholstered furniture, country upholstered furniture; stationary upholstered furniture, motion upholstered furniture, recliners, fabric recliners, leather recliners; upholstered seating: reclining chairs, wood-framed upholstery chairs, metal-framed upholstery chairs; sofa beds, sofas, fabric sofas, leather sofas; sectionals, seats and chairs; home theatre seating (individual seats / love seats /divan-type seating); high end upholstery, mid range upholstery, low end upholstery.

Companies Mentioned
Tokoro, Inc, American Furniture Warehouse, Burdines-Macy’s, CTC/Chicago Textile Corporation, Douglas Furniture of California LLC, Ethan Allen, Famous-Barr, G Romano Inc, HH Hiatt Furniture, Interline, Jsf Industries, Kaufmann’s, Lacquercraft - Universal Furniture, Moretti’s Design Collection Inc, Norwalk Furniture, Omnia Leather, Palecek, Riverside Furniture Corp, ShopKo Stores Inc, Target Corporation, Vaughan Furniture, Wal Mart.

I’m always interested in what’s reported to be hot home decor. When I hear of something redeclared trendy after years of lessened interest my curiosity is aroused. What style or material becomes out of favor when a new or retro rage kicks in?

It was last summer that a Los Angeles Times reporter trumpeted the revival of furniture sleekly crafted of plywood, and I deemed it a reaffirmation of the good taste of those who own and cherish some Modernist design classic. They have added reason to exult at owning, say, an original Eames chair.

The design world first embraced plywood’s nonconventional utilization in the 1940s. Its resurgence now represents a 21st century salute to the handful of pioneering artists who, through a combination of creativity, craftsmanship and dogged experimentation with materials, brought about breakthroughs in furniture-making.

That storied group included Californians Charles and Ray Eames, Hungarian-born Marcel Breuer, American George Nelson, Eero Saarinen and Alvar Aalto, natives of Finland. Though they didn’t design chairs exclusively, they may be best known for them. Stripped of bulk, fussy upholstery and distracting ornamentation, their selected wood was bent and curved to suit individual creative visions. These were fearlessly re-imagined chairs, and the designs appeared to fit a post-World War II climate in which buyers seemed ripe for and generally supportive of innovation.

The Eameses are said to have spent 40 years researching chair seat and back configurations to assure bodily support and comfort. “An ethos of functionalism informed all of their furniture designs,” it was noted in an online exhibit showcasing the furniture. That assessment seems to be affirmed by this Ray Eames quote: “What works is better than what looks good. The looks-good can change, but what works, works.

” I’ve added that to my thin file of simply stated wisdom. The stark, yet gently curvy chairs of the plywood pioneers became, deservedly, museum pieces. Yet they’re also in everyday use and cherished within countless homes. Copies of the golden oldies do, of course, abound. A current example: attractive and economically priced interpretations of the classic bentwood style, designed for Ikea by Noboru Nakamura, whose series includes armchairs and footstools in birch, beech and oak veneers, plus a pair of nested tables in birch.

San Francisco design historian Dung Ngo has written (with Eric Pfeiffer) the book “Bent Ply,” which traces plywood’s adaptation to a multiuse material, boosted by that postwar generation of 20th century innovators. “I would say that plywood had a continuous run from the ’40s to about 1975, when it went into decline,” Ngo told John Balzar of the Los Angeles Times. That phrase “into decline” came to mind when, in mid-December, the Washington Post reported that “During an earnings call, Pier 1 Imports executives hinted the chain may be abandoning its very soul: wicker and rattan.”

Then, with callous disregard for possible wounds inflicted by this news — i.e., on those who, like me, harbor cherished wicker/rattan classics — the Post’s reporter went on to opine wryly, “Granted, it was a creaky, splintery, dust-catching soul, but it was a soul, nonetheless.”

The added detail that Pier 1 had been waging an apparently good fight “to make wicker hipper” sent me down to my basement for what I hoped would be a measure of solace. I maneuvered a skimpy path past items that were something of a study in home decor trends past (including dining chairs from Danish Modern madness in the late-’50s) before I spied three once-hot rattan chair swings (one a double-seater). When suspended by chains from ceilings or wood beams, chairs such as these were reputed to soothe Age of Aquarius angst almost as well as certain then-popular pharmaceuticals.

“Life is now assembled by Allen wrench, not woven together by hand,” sounded eerily like an epitaph by the Post writer for what, like the swings — and other less-outre wicker. pieces still in wide use in homes — are rushing toward being viewed as mere out-of-era oddities.

So what does it all mean? Perhaps that the marketing concept called “brand identity” can be a curse or a blessing. Long before that became a catch-phrase, some designers saw potential in a humble lumberyard staple — plywood — and turned it into furniture, now honored as their brand. A major retail chain, on the other hand, is now said to be “trapped” by a brand identity tied to rattan and wicker, whose products also begin with humble materials.

What’s my wish? For Pier 1 to precede the final sale of inventory that’s become its curse with the staging of a museum-type retrospective featuring the very products that contributed to its earlier success. I’d be happy to lend a swing or two for the exhibition.

We are Tokoro, Inc. furnishing the fabrics which are usually given by the client.

Almost every imaginable design has featured in fabric designs — animals, objects and people. Everyday objects are all frequently used designs. Florals have been the most common and best selling printed and jacquard woven fabrics in apparel and interior textiles.

Natural fabrics
The fabrics are made from natural and organically grown materials such as silk, hemp and organic cotton, and are free of synthetic chemicals and dyes. Plant and vegetable dyes create variation in the color of the fabrics, giving it a richness, Tokoro, Inc. professional staff  said.

The company uses the fabric in high-end bedding and towels and also makes fabrics for use in window treatments and upholstery.”They’re gorgeous”.

Colour
Fabric is usually chosen foremost for its colour because fabric is a merged of fibres and threads; its colour never appears flat. The choice of colour is personal. The safest colours are considered to be white and beige. Quality of fabrication, upholstery tailoring and architectural integrity is the hallmark of any fabric. Colour is indomitable by light. Every fabric colour must be considered under light conditions as similar as possible to those of the environment in which the fabric ultimately will be installed. Today consumer and end users have sophisticated tastes and are aware of many artistic alternatives.

Seating
A homeowner usually focuses more attention on sofa selection than drapery; it becomes a statement spot for most interiors. Upper end manufacturers design their furniture to accept any fabric. As long as fabric can be stapled to a frame and not damaged in handling, manufacturers will use it.

Comfort
An upholstery fabric’s air and moisture porosity influence comfort. Natural fibres are more porous than synthetic fibres. The composition of cushion stuffing and the tautness of the upholstery on the frame affect dankness or dryness of furniture. Completely moisture repulsive fabrics are uncomfortable because surface absorbs no moisture from the occupant’s skin and allows no air to pass through.

Harmony
Most people work in offices that are not too visually stimulating. Medium values, greyed hues and harmonious combinations are pleasing office decorations. Small scale patterns and textures cover wear and soiling and are popular for non-residential use and areas in homes that are heavily used, like children’s and family rooms.

Conference rooms or lobbies can be dramatic as people do not spend a lot of time there. For same reason, lively pattern is interesting in residential entrance halls and powder rooms.

Fabrics are labelled according to how they are produced and according to their pattern. Geometric shape is the most common type of design after florals. A geometric may be coordinated with a floral. A line may go with a plaid or check or one pattern may be rendered in two techniques.

Chinoiserie refers to any western interpretation of oriental design. Abstracts are softened geometrics and formless all over patterns. Contemporary is a term to classify designs with a simple extremely stylized motifs. Transitional designs are almost contemporary, but the stylised motifs are not as starkly simple and may be recognised naturalistic.

Trompe L’oeil literally means ‘fool the eye’. These patterns are so designated to create such an effect, where giving an illusion of tactile qualities is emphasised, often used to depict absent architectural features.

This year, lighting designers and manufacturers combine fashion with function to create decorative lamps and fixtures that do more than simply elucidate. Consumers, too, have seen the light — or more appropriately, the lights.

Decorative sconces, chandeliers, table and floor lamps in a variety of shapes, styles and finishes elevate a room from simple to dramatic with the flick of a switch. While traditional, polished brass fixtures still form the central core of the decorative lighting business, a variety of options have become more important in recent years.

People now buy new decorative lighting every few years to update their interior, as opposed to buying one lamp, keeping it forever and passing it down to their kids”. Stylish offerings allow consumers the opportunity to discard light on their own design personalities.

Like the rest of the house, decorative lighting reflects our changing lifestyles. “There is a greater emphasis on informal style in home décor today”. Lighting designs follow larger forces, like housing and furniture trends. Today’s new homes feature relaxed, open interiors with elegant floor plans and coordinated furniture. Decorative lighting’s brightest ideas work to illuminate these spaces. As a result, more homeowners are coordinating lamps and fixtures by room, say industry experts, creating synchronized vignettes that emphasize decorative lighting.

Some companies like Tokoro, Inc., from Beverly Hills, California. -based Kichler, even offer special collections of decorative lights, lamps and chandeliers in coordinating ensembles. Customers can create their own interconnected look by choosing from within the collection.

Metal and hardwood bases combine with angular shades in glass, mica or mica-patterned fabric to re-create the fresh lines popularized by designers. The clean lines of these styles fit into the interior decor of most people’s homes. “This look is different than what’s been on the marketplace for some time”. “It matches today’s lifestyle — plain, yet graceful.”

Accent and floor lamps, sconces, and chandeliers in cast metal with glass shades in soft tones and flowery patterns work well in a variety of settings. Many companies also offer post and column lights, as well as interior and exterior lights so consumers can continue a chosen theme throughout their property.

“Soft shades are becoming more important as opposed to those with pleats”.  “A light’s function is to illuminate. Finishes add the decorative touch, allowing the fixture to blend into the décor”. “Bronze and brown finishes are very popular today”. “There is interest in neutrals, pewter for a high-tech look, and patina or verdigris patina, which continues to be important”. When shopping for decorative lighting, look for quality, says lighting experts”. Whether it’s furniture, appliances or decorative lighting, if you buy quality, you never need to worry about it.

This lamp produces an astonishing 180,000 Initial Lumens, 153,000 Mean Lumens, of crisp white light at 4000K color temperature. The average life of this product is 3,000hours.

This lamp is rated ANSI M48, for use on 1500 Watt Metal halide systems that operate lamps in the horizontal burn position +/- 60 degrees. Areas of use include stadiums, athletic fields, arenas, convention centers, race tracks, marinas, amusement parks, and other floodlighting applications.

Your dresser drawers may be messing up your life, while your nightstand is giving away secrets. Your house may be so blah, nobody seems to be house. If any of these statements cause you to quake even a tiny bit, give Tokoro, Inc. a call. 

Actually looking in drawers is an icebreaker of sorts. It loosens up people and helps build a level of trust between client and coach, Tokoro, Inc. staff. Drawer inspections can be laughable.  Nightstands signify two things: They’re part of a transition between day and night. They’re not storage bins. “Put things on your nightstand you want in your dreams,” one of the Tokoro, Inc. staff advises. Nightstands disclose the nature of your correlation — lack of, or desire for. 

If you catch visitors going through your home touching your lamps, they aren’t just being busybodies. It’s just tough to tell what materials are used to make lamps. The companies copying the highest-quality lamps are receiving much better at it — and vastly reducing prices — according to Tokoro, Inc. Professional Staff.

At the same time, people are less interested in buying heirloom-quality furnishings, he says, because they find their children or grandchildren have their own tastes and don’t want to inherit their “timeless” pieces. “We still have people who come in here saying, ‘Is this best crystal? Is this the best design?’ They only want the best.

So materials in lamps might not be what they seem. The formed-iron lamp and the base of the Tiffany style might both be resin. What looks like hand-painted pottery might be a marker. And the lesser-quality crystal might never make known itself unless placed side-by-side with hand-cut Waterford. Meanwhile, every mass merchandiser, it seems, has brought in its own designer — or three or four — to raise style at a much lower price.

Superior and Greater 

Lamps can be the jewelry setting off a fashionable room. Prices go up with the quality of materials, workmanship and original design. Prices rise as you move into lamps made from antiques and art pieces.

The company, which meticulously produces beautiful, multilayered finishes, is finding its finishes copied and produced in countries where labor costs are lower and without the pollution laws that metal workers face in this country, he says. “It’s a huge part of the look and the most overlooked part of the lamp. It’s also where manufacturers are making a lot of their money, by putting on cheap shades.”

In the lower-end market, discounters sell lamp bases and shades separately, which gives consumers more options. However, there’s no one there to help customers with scale and hardware to sit the shade on the base at the right height, he said, which lamp shops do.