SOCIETY OF WONDERLAND COMES TO S. HARRIS
When digital artist Stephanie Eventov sits down to create, we get scene-stealing color and pattern, movement and interaction, flowing shapes and lines. Her signature look is both graphic and impactful, playful and sophisticated. Rendered in outsized scale, Eventov’s designs for performance, contract-grade upholstery fabric transform the energy of a room.
When Eventov launched her Brooklyn studio, Society of Wonderland, in 2015, she was driven to bridge the gap between street art and fine art, to fuse traditional techniques and aesthetic to digital design and technology. It wasn’t long before her work captured the attention of ADPro, HGTV, Luxe Magazine, and Interior Design.
Now, her latest collaboration brings her trademark fusion of traditional techniques and aesthetic with digital technologies and mediums to the S. Harris community.
With a vision for the future and a nod to the past, this collection twists what is expected of upholstery textiles by emphasizing bold color, Eventov’s large-scale motifs, sustainability and sophistication through recycled yarns, and performance that’s up to the task in commercial and hospitality projects, in addition to outdoor.
Inspired by the lines and shapes of the mid-1950s-1970s, these fabrics are a celebration of mid-century art and architecture. Eventov invited her interests in disco, fashion design, and photography in to play. The result is a collection that is unconventional, unpredictable, and, because of its durability, here for the long haul.
“When a large-scale pattern is used to upholster, it can change the full view of the piece of furniture entirely,” Eventov told us. “It communicates with the shape of the piece while complimenting its curves. It acts similarly to a solid fabric, where it doesn’t interfere with the environment it is in and still provides interest and detail.”
S. Harris: You say you want to bridge the gap between street art and fine art. We would love to hear more about what’s behind your drive to do that in your work.
Stephanie Eventov: I view street art beyond graffiti and murals. I see art in different elements in our environment, from a building’s architecture to pathways, street signs, subway tiles, fencing, and utility hole covers. These shapes and patterns, especially the negative spaces they create, make beautiful formations that can pop out and are a source of inspiration for my work.
SH: Tell us about your process as a digital artist.
SE: Usually, it takes just an image or a shape, either digital or from the “outside world,” to spark the creative process. I put it on a blank page and let things unfold. I play around with it on the computer—I am very quick with my hands, even though I still use a mouse and my keys (I am old school!). This process, to me, is like choreographing a dance. It’s very liberating and entrancing. When designing a collection, I start by writing words down in a list format in my notebook. I use them as a guideline rather than sketching, as many designers do.
SH: It seems like the lines and shapes of the 1950s-1970s capture your imagination.
SE: I am drawn to curves and the way they interact. Since I feel like I am creating a dance, so when I start playing with curves and complete shapes, it feels organic and playful but deliberate. This is how I see the design of these particular eras—fun, imaginative, but highly structured.
SH: Would you say your work with textiles as a way to explore your interest in mid-century modern art and architecture crosses new boundaries?
SE: Mid-century modern art and architecture have a fascinating interaction with the surrounding environment. Especially in architecture, the design is very intertwined with nature, and its abstract quality creates harmony in the space. Similarly, textiles are part of a broader design concept, they don’t exist independently. The textiles from Society of Wonderland feature patterns subtly inspired by this movement and can be incorporated into various environments.
SH: You write about using elevated design techniques. We'd love to know more about that.
SE: I am referring to the concept of designing with a higher intention, in a way that embraces all aspects of the material being used, and in this case, textiles. Taking into consideration the specific structure of the material and weaving techniques and how the warps and wefts interact with the design gives the fabric a new depth.
SH: One of our favorite aspects of your work is how you play with traditional expectations of upholstery textiles. Tell us more about your perception of what’s expected of upholstery textiles, and how this collection turns those expectations upside down.
SE: Since I do not come from a background in interiors, I look at things from a different perspective. In addition, I use new digital technologies in both my design and production process, which allow for experimentation and give more freedom to creativity. I have always seen textiles as something that carries more tradition; there is more of a seasoned knowledge to it than with most other disciplines. By not following the rules and limitations of a classic pattern and using colors that are a bit bolder, but also blended, I work outside the norms of a repetitive structure. The fabric is an essential component of a piece of furniture, and it deserves to be part of the conversation.
Are you already envisioning the lines and colors from these pieces in your next project? We’d love to hear what you’re thinking—tag us on social to join the conversation. #sharris
