cinema at home
Create & Barrel
Howell
Harrier
Tiffany Howell and Laura Harrier turn 1970s Los Angeles and old Hollywood style into an 87-piece collection for Crate and Barrel.

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The collection feels cinematic without quoting a single film.
The collaboration began the way most meaningful creative relationships begin: without a plan. Six years ago, Laura Harrier, the actress known for her roles in BlacKkKlansman e Spider-Man: Homecoming, was looking for someone to help her buy and furnish her first home in Los Angeles. She found Tiffany Howell online, the founder of Night Palm, a design studio whose visual identity draws on the warm material palette of Southern California in the 1960s and 1970s: burl wood, lacquer, velvet, brass, and the specific amber light that enters a room through a west-facing window at the end of an afternoon. Harrier sent a message. Howell responded. They furnished that house, then a second, then a third. Somewhere in the process, the professional relationship became a creative conversation, and the conversation became a point of view. The Howell x Harrier collection for Crate and Barrel, launched this spring, translates that shared sensibility into eighty-seven pieces of furniture, lighting, textiles, and decorative objects. The emotional register comes from vintage cinema, specifically the material world of early-1970s Los Angeles, when interior design in film served as a form of character development: the colors, textures, and furniture in a room told you who lived there before a single line of dialogue was spoken. Think of the apartments in Hal Ashby’s Shampoo (1975) or the domestic spaces in Robert Altman’s The Long Goodbye (1973), interiors where every surface carried psychological information. The palette is tobacco, copper, and cream, warm without being sweet, saturated without being heavy. The materials are chosen for their tactile qualities. Burl wood, prized since the Art Déco period for its unpredictable grain patterns. Lacquer, applied in layers that require curing time and hand-finishing. Mouth-blown glass, whose slight irregularities distinguish each piece from its neighbor. Wide-wale corduroy, a fabric whose ridged texture absorbs light rather than reflecting it, producing a surface that looks different at every hour of the day. Grasscloth, woven from natural fibers and used on walls and surfaces since the 1950s, when midcentury designers discovered its ability to add warmth and dimension to flat planes.
Na sala de estar de Aneesha, o vintage se mistura com o moderno: uma mesa de centro espelhada dos anos 80 da 68 Home fica sobre um tapete da Cold Picnic e ao lado de um sofá Kardiel Kidney Bean.
Objects are designed not only to furnish a room, but to set a scene.
Several pieces carry specific design references. The Salon Sofa, upholstered in wide-wale corduroy, curves in an organic, bean-like silhouette that recalls the sensual curves of 1970s jewelry and design. The Cinema vanity, finished in cream lacquer with a round mirror, recalls the makeup tables of classic Hollywood studios, functional objects that became symbols of self-presentation and ritual. The Waltz chandelier features ginkgo leaf forms in colored glass, a botanical motif with a long history in the decorative arts, the ginkgo being one of the oldest living tree species, its fan-shaped leaf appearing across centuries of ornamental design from East Asia to Art Nouveau Europe. Sebastian Brauer, Crate and Barrel’s senior vice president of product design, describes the creative dynamic as “choreographed contrast: polish and softness, structure and curve, nostalgia and newness.” Howell and Harrier shaped every detail. They did not license their names to existing designs or select from a catalog. They built each piece from concept to prototype to production finish, a process that extended over more than a year and involved multiple rounds of material sourcing and revision. Crate and Barrel, founded in 1962 by Gordon and Carole Segal in an old elevator factory on Wells Street in Chicago, has spent more than six decades connecting designer-driven product to everyday domestic life. The original store sold Marimekko textiles and Scandinavian glassware at a moment when European modernist design was still unfamiliar to most American consumers. The Howell x Harrier collection extends that founding instinct into a more cinematic register: objects designed not to furnish a room but to set a scene, to make the space between waking up and going to sleep feel like something worth paying attention to.