For the coming winter season, I can't say that Formex revealed many new trends that felt particularly fresh or surprising. Rather it seemed that the maker movement that started years ago simply continues it's slow evolution. Hand-drawn fonts and illustrated prints and patterns with intentionally imperfect shapes and lines were prevalent.
What I found most interesting was where these ideas were taken one step further in patterns with semi-opaque layers and unclear edges, often with collage effects giving them an impression of color, depth, texture, and movement such as the large, watercolor-like brush strokes of Hanna Dalrot's cushion covers above.
It feels like a departure from the typically crisp shapes and solid colors (often tinged with a bit of mid-century retro nostalgia) that we see often in Scandinavian patterns.
It's a dip into murkier, foggier, moodier territory - earthy, elemental. And it takes a special eye to achieve this in an emotive and contemporary way that doesn't feel cluttered, clichéd or melodramatic.