A home furnishings magazine that explores aspirational spaces, focused on designer insights and leading quality brands for the home.
Designer Insights
Looking through the lens of Stickley product designer Marissa Brown.
FabricTrends
A conversation with one of the industry’s top fabric mavens designer India Miller.
“INSPIRING by Good’s Home Furnishings is our effort to bring you design inspiration for your home through alluring home fashion photography from the finest names in home furnishings, along with features that showcase design expertise from some of the industry’s most skilled professionals.” - Kevin Bowman CEO Join us as we influence your senses.
Inspiring Design
Great design begins with great inspiration. The talented designers, whose work graces the pages of our magazine, understand the meaning of “Inspiring”, our magazine’s title, which is, “giving someone positive or creative feelings”. Whether the flow of a fabric on a dress for a fashion designer, or the flow through the room for an interior designer, the creativity begins at a point in the mind, or on a canvas, or today, even on a computer screen. Regardless of its origin, the inspiration for creation of room design is one that begins a process of collaboration; the collaboration of color, texture, tone, dimension, scale, mood, lighting, layering, and ultimately the love for what all of these things can produce for a client.
Please join us on this journey in our latest edition of Inspiring. Our journey will introduce or reacquaint you to some of the very best furniture manufacturers in the world with alluring images, thought-provoking product designs, and carefully curated interiors that offer aspiration to our readers. Like prior editions, we return with a look into the world of textiles with our Woven feature, which includes an interview with the talented India Miller, VP - Creative with furniture industry legend - Sherrill Furniture. This feature allows us to peer into the mind of a textile maven to better understand the trends, colors and textures on the horizon for the most fashionable part of the home fashion industry. Our Designer Insights feature will provide a unique perspective from a highly successful product designer for one of the most coveted and longest running brands in the furniture business. Marissa Brown, Director of Design for Stickley, shares her thoughts with us in an insightful interview about her exciting career in the industry and her work with this storied manufacturer. goodshomefurnishings.com
We want our magazine to be more than just pretty pictures and affirmations from the brightest minds of the home industry. We also want to educate the luxury consumer on the value of luxury home furnishings, and we have maintained our 5-part educational series to support that initiative. In our last edition, we guided our readers through the various aspects of interior design. In this edition, we focus squarely on perhaps what is the most important item in any room design, the Area Rug.
At Good’s, we work very closely with our furniture suppliers, many of which reside with us right here in Hickory, NC. Our proximity to our suppliers allows us to demonstrate incredible value and have the most experienced sales organizations in the home furnishings industry, and we want to share that knowledge with you to help you in selecting fine furnishings for your home.
Our designers in Hickory and Charlotte/Pineville, NC look forward to helping you create the rooms of your dreams that your family and friends can enjoy for many years.
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AREA RUG MATERIALS There are 5 primary fibers used in rug making: Wool, Viscose, Jute, Polyester and Polypropylene.
Wool is a natural fiber that comes mostly from sheep and is prized for its durability, resiliency and resistance to soiling due to its scale-like fiber construction, which keeps soil near the more cleanable surface. There are substantial variances in the quality and value of wool depending mostly on the region from which it is harvested. In particular, New Zealand wool is coveted for its use in rugs.
While a great choice for longevity, it is prone to shedding in the early years of ownership.
Viscose is a more affordable semi-synthetic fiber that is often used as a substitute for silk. Made from wood pulp, these fibers absorb dye easily and are very soft underfoot. Shedding can be problematic with viscose from high traffic.
Jute is a plant-based textured fiber that is also a good substitute for wool. While cost-effective and capable of larger weaves, the material is prone to absorbing liquids.
Polyester is a well-known synthetic fiber and is among the most used in machine-made rugs. Polyester takes dyes well and is soft and easy to clean, but it is prone to oil-based stains and has a lower lifespan than natural fibers
Polypropylene is a byproduct of the petroleum industry. It is strong, resistant to water-based stains and moisture, and looks and feels like a natural fiber while being the most colorfast fiber in rug-making. These fibers are often used for rugs suitable for high-traffic and outdoor use.
Woven
Voices In Textile Trends
A conversation with India Miller Vice President of Creative for Sherrill Furniture.
India Miller has furniture in her veins. “ I have been around furniture and design my whole life as my father, my idol, Jim Stanton, was an extremely talented furniture designer and businessman. From a very young age, I knew I wanted to be just like my dad, putting pencil to paper and creating something beautiful from an idea within your mind – I just knew ‘this will be my life.” - India Miller.
India, your work with the coveted Sherrill brands is amazing. Your showrooms for these brands at the High Point Furniture Market are always a delight for the eyes. Can you tell us how you go about choosing your new fabrics for each season?
Thank you so much—that means a lot! The fabric selection process is one of the most exciting and collaborative parts of our work at Sherrill Furniture Brands. We’ve built strong relationships with some of the best fabric mills in the industry, and every season begins with reviewing nearly 100 lines over the span of 2-3 weeks. From those meetings, we could pull in between 300-500 fabric samples. The next step is carefully editing those down to create around 35 cohesive color stories. From there, we curate a final seasonal assortment, usually about 200 new fabrics across the five divisions. It’s a blend of trend forecasting, brand identity, and instinct—and it’s always a thrill to see how it all comes together on the showroom floor.
“Clients
today are far more informed and engaged.”
The Interwoven show in High Point, NC (formerly “Showtime” and hosted by the International Textile Alliance) was held in May. These new fabric selections for the Fall 2025 High Point Furniture Market won’t be seen by the public until early 2026. Can you give our readers some insight on your takeaways from the show, and what were the trends you noticed in color and texture? Interwoven is always an inspiring experience—it’s a chance to see what the mills are experimenting with and how materials are evolving. That said, I’ve never been one to chase trends. With the way they come and go, I see it as my responsibility as a designer to think beyond them. At Sherrill, our approach is less about following what’s “in” and more about setting the tone for what’s next. Our focus is on curating fabric stories that surprise and delight—mixing colors, textures, and patterns in unexpected ways to create fresh, lifestyle-driven compositions. If anything stood out to me at the show, it was the renewed emphasis on tactile interest—layered textures, dimensional weaves, and finishes that invite touch. But ultimately, we take that inspiration and translate it through our own lens, crafting fabric stories that feel original, elevated, and enduring.
“It’s less about following what’s “in” and more about setting the tone for what’s next.”
The recent tariff actions have uncovered an unfortunate truth about the furniture textile industry, and how dependent it had become on foreign-sourced fabrics. Can you tell us your thoughts on how the furniture industry has adjusted?
The tariff actions have certainly brought a major shift to the textile landscape, especially for an industry that had grown heavily reliant on imports from China. At Sherrill, we made a proactive decision prior to the April 2025 Market to discontinue introducing or presenting any textiles of Chinese origin. As a result, we’ve removed nearly 900 in-line fabrics from our offering. This move aligns with our commitment to being a company that proudly manufactures in the USA, and it’s allowed us to deepen our relationships with domestic mills. From a fabric selection standpoint, it has added a layer of complexity—China has long been a go-to source for value textiles, and navigating price points without that option certainly requires more intentional choices. However, the challenge has also brought opportunity. It’s pushed us to be more strategic in how we define value, and it’s sparked more thoughtful collaboration with our supply partners. In many ways, it’s elevated the design process, encouraging innovation and greater alignment with our core values of quality, craftsmanship, and American-made excellence.
Our readers would love to hear about your personal favorite textile designs that you enjoy working with. Prints are always my favorite to work with—and often become the “jumping off point” for an entire lifestyle story. The ones that feel more like pieces of art than traditional fabrics. I love starting with something unique that features beautiful, sometimes unexpected color combinations. That one fabric can inspire everything from the palette to the mood of the room.
“The fabric selection process is one of the most exciting and collaborative parts of our work at Sherrill Furniture Company family of brands.”
Prior to your role at Sherrill, you ran your own interior design business. Can you tell our readers what you feel has changed most about the interior design industry in the last 20 years?
One of the biggest shifts has been the impact of the Internet and, more significantly, social media. Clients today are far more informed and engaged. They have access to endless inspiration and resources, which allows them to develop a clearer vision of what they like—and don’t like—early in the process. This has naturally changed the role of the designer. Rather than presenting a wide range of proposals from scratch, we’re now guiding clients through their ideas with a more curated, informed approach. Our value lies in our ability to discern quality, identify what will work functionally and aesthetically, and ultimately source the perfect materials, furnishings, and solutions that bring their vision to life—often in ways they hadn’t imagined. It’s about blending their input with our expertise to create spaces that are not only beautiful but exceed expectations.
“A decade ago, performance often meant sacrificing aesthetics.”
Probably one of the most exciting trends in textiles in recent years has been with the expansion of performance fabrics. Can you tell our readers about your experience with these types of fabrics and how they have improved over the last decade?
Performance fabrics have come such a long way—and it’s been exciting to watch their evolution. A decade ago, performance often meant sacrificing aesthetics. The options were typically limited to flat textures, muted colors, and a feel that was more functional than luxurious. It was challenging to incorporate them into elevated, sophisticated designs without them standing out as obviously “performance” or even outdoor fabrics. Today, that’s completely changed. The advancements at the chemistry level have been impressive, but what’s really remarkable is how far they’ve come in terms of look and feel. We’re now seeing performance fabrics with rich textures, beautiful color palettes, and soft, inviting hand-feels—qualities that once were exclusive to more delicate textiles. Most mills now offer some form of performance collection, and we incorporate these fabrics into our designs frequently. When you find a textile that not only looks stunning but also stands up to real life—that’s a true win-win. It’s no longer about choosing between beauty and durability. Now, you can have both.
“It’s no longer about choosing between beauty and durability. Now, you can have both..”
Working in Hickory, NC, you are right at the heart of where many of the textile mills make these beautiful fabrics. What is it that you love most about working in the textile industry?
What I love most is the people—hands down. The relationships I’ve built over the years with the makers, creators, and doers of this industry are truly special. At Sherrill, we operate like a close-knit family, and I consider our textile partners to be an extension of that family. There’s a deep sense of respect and collaboration that’s hard to find elsewhere. One of the most exciting aspects of working with these mills is the opportunity to customize and create fabrics that are uniquely ours. While time doesn’t always allow us to explore that as much as we’d like, when we do get the chance to collaborate on something original, it’s incredibly rewarding. That creative exchange—combining their craftsmanship with our vision—is what makes this industry so inspiring to be a part of.
One of the many exciting things going on at Sherrill Furniture is the use of fabrics, trims and finishes across their many brands. Can you discuss some of your recent design work for the showrooms and how you are pairing these products and fabrics together?
Each market, I try to find new ways to showcase Sherrill’s incredible manufacturing capabilities—especially through creative and unexpected fabric applications. For example, we recently took a beautifully detailed stripe fabric—something you’d typically see run down the center of a statement wing chair—and used it as a tape detail on a skirted sofa. It was a unique request, and our factory executed it perfectly. I love moments like that where you can push the boundaries of traditional upholstery.
MADE IN THE USA. Craftsmanship and true beauty. Create your own look with tons of fabrics and finish options.
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RUG CONSTRUCTION
The weaving process of a rug often determines its quality and price, along with the amount of time it takes to produce the rug. Certain rugs can be produced by one family by hand and take months to weave; other mass-produced rugs are woven by machines.
Machine Made ($) are a great choice for high traffic areas and more budget-conscience projects. These rugs are made with very precise machine manufacturing and are easy to recognize due to their perfect level knotting on the underside of the rug.
Flatweave ($$) do not use any knots, rather the artisans use natural fibers and weave the rugs horizontally or vertically to create lightweight casual rugs that come in a variety of styles colors and patterns.
Hand-Tufted ($$$) are tufted by a person with a tufting gun which is used to punch through a stretched fabric allowing the detail of hand-made quality at a much faster pace. Rather than knots, hand-tufted rugs use glue and muslin fabric on the back side to hold the yarn in place and are easily recognizable.
Hand-Woven ($$$$) are works of art made by hand by artisans that use a loom and hand-weaving techniques to weave the threads over and under the other threads, which produce a flat, low pile without knots on the back. These rugs are prized for their beauty and have the same design visible on the back of the rug as the front due to the weave.
Hand-Knotted ($$$$$) are the most prized of all rug production due to their hand-made nature where each fiber is hand-tied to a foundation, allowing the artisan to create incredible beauty with multi-generational durability. Along with the material selection and intricacy of design, the number of knots per inch can often determine the value of these rugs, with smaller knots being prized. A 9 x 12’ hand-knotted rug can take 4 people up to 6 months to produce.
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Designer Insights
Design conversation with Marissa Brown-Director Of Design at Stickley Furniture.
Marissa, you have a storied background in the home furnishings industry, having worked with the legendary Martha Stewart, along with collaborations with Bernhardt and now as Director of Design with the venerable NY based furniture-maker Stickley. Please tell us what attracted you to the home furnishings industry and what it has been like to develop product for these iconic brands.
My love for design developed over time. Right after school, I joined Dakota Jackson’s design studio, where I built models and worked hands-on in the shop. The studio was connected to the factory, so I saw the full process—from concept to finished piece—which taught me the value of collaboration between designers and craftsmen and gave me a deep respect for detail.
Early on, I was driven simply to create. I didn’t have everything figured out, but I wanted to make things that were beautiful, functional, and meaningful. As my work began to resonate with others, I became more intentional about what I designed and why.
Working with well-known brands was a turning point. Designing within someone else’s identity was challenging, but those constraints helped me grow. I learned to adapt to different brand voices while still bringing something of my own.
Designing for Martha Stewart sharpened that skill even further. I had to create across “good, better, best” tiers while staying true to the brand, balancing broad appeal with strong design intent. That experience prepared me well for what I do now.
At Stickley, I feel like I’ve found my stride. I design pieces that are built to last and enhance daily life, alongside some of the most skilled craftspeople in the industry. Seeing my work next to classic Stickley pieces reminds me I’m right where I belong.
“I design pieces that are built to
last and enhance daily life.”
Stickley has such a long history of furniture and cabinet making, going back to the turn of the 20th century with brothers Gustav and Leopold Stickley, whose Craftsman designs and Northern-European influence inspired an Arts and Crafts movement in this country that still exists today. While Stickley now represents a much wider variety of product design, is there something about Arts and Crafts design that inspires and influences you?
Absolutely. Arts and Crafts design, especially as pioneered by Gustav and Leopold Stickley, has a timeless quality that continues to inspire me. The emphasis on honest craftsmanship, natural materials, and simplicity of form resonates strongly with me. Even as styles evolve and Stickley has broadened its product offerings, that core commitment to quality and design integrity that has a purpose remains relevant. I love working the exposed joinery into designs where appropriate. For me it’s a reminder that beauty doesn’t have to be excessive but can be found in well-crafted, purposeful pieces that stand the test of time.
The Stickley consumer is more often referred to as a “collector” than a “customer”, where their acquisition of Stickley pieces over a lifetime is a coveted honor; what do you feel drives that attraction and loyalty to your brand?
Stickley is celebrating 125 years of craftsmanship, and our collectors and loyalists truly see and value that history. The design is authentic, grounded in an understanding that each piece is made to last. Built from solid wood, a Stickley piece isn’t just furniture but an heirloom. What truly sets us apart is the integrity of our construction with features like side-hung, center-guided drawers and time-honored joinery techniques that ensure strength, stability, and smooth performance for decades.
See more of this delightful interview by visiting our website or using this QR CODE.
Marissa’s career is linked to her high respect for craft. Initially hired by craftsman Dakota Jackson as Director of his custom furniture studio, she eventually attracted the attention of Martha Stewart Living Omnimedia. As Design Director at Martha Stewart she evolved to designing and managing large projects. In 2018, the CEO of Stickley, impressed with Marissa’s deep knowledge of materials, process, and trends invited her to become their Director of Design.
“In my Brooklyn apartment, space is limited, so every piece of furniture must earn its place, both visually and functionally. One of my favorites is the Walnut Grove barstool I designed for Stickley”
With an office and home in New York City, you are right in the center of design influence in the U.S.. Our readers and designers would love to know about what you value most (professionally) about living and working in NYC.
There’s something about the energy of New York that’s hard to put into words. It’s this constant undercurrent of creativity and movement. When I was younger and living in the East Village, I felt a real urgency to be everywhere—at art openings, shows, and designer events— just to soak it all in. That fear of missing out is real, especially in a city where so much is happening all the time.
These days, I live in a quieter neighborhood in Brooklyn. I walk my dog in the park, and life feels a little more grounded, but that energy is still there, manifesting in a different way. It’s in the streets, the mix of people, the architecture, the conversations overheard at a café, or even something mundane like an old sign or a storefront. As a creative, I’m always absorbing my environment. New York is full of unexpected details that find their way into my work—sometimes without me even realizing it.
What I value most about being here is that constant sense of access to inspiration. Being exposed to new trends, new ideas, and witnessing people doing incredible things in every field keeps you sharp—but also keeps you humble. I’m always observing. There’s always something new to see, learn, or respond to and that’s what keeps me here.
“Inlay has long been a distinctive and expressive element in Stickley furniture.”
Please tell us about your early influences in interior and product design.
My early influences came from a home shaped by history, travel, and storytelling. My father, a writer from the Bronx, and my Dutch-born mother, who spent part of her childhood in Indonesia during WWII, both brought rich perspectives to how we lived. We spent time in London and traveled often, collecting pieces along the way like Hans Wegner chairs, old Dutch cabinets, family heirlooms from Upstate New York. Every object in our home had a story. My father encouraged me to notice design details and to really look at things. That early exposure to thoughtful design and the emotional weight objects can carry sparked my lasting interest in interiors and furniture, particularly the connection between form, function, material, and craft.
One especially pivotal moment came when I accompanied my dad on a trip to Denmark, where he was writing an article on Danish design. We visited Hans Wegner in his home studio, and he showed us the small models of his chair designs—each one carefully crafted by hand. As a young designer just starting out, seeing that process up close was transformative. It grounded everything I believed about design: that great ideas start with the hands, with curiosity, and with a deep respect for materials and the act of making.
Stickley are masters of veneer work and inlays. Can you give our readers some insight on why veneer work is so prized at the upper-end of wooden furniture makers?
Inlay has long been a distinctive and expressive element in Stickley furniture. Rooted in the Arts and Crafts movement, it reflects the belief that even the smallest details are important. Thin pieces of contrasting or tinted wood are carefully set into surfaces to create elegant motifs like floral abstractions, landscapes, or geometric forms that elevate the piece and often carry a message or deeper meaning.
The designer Harvey Ellis helped shape this tradition during the short time he worked for Gustav Stickley, bringing an artful and delicate touch to the furniture. His subtle inlays in chair backs, cabinet doors, and tabletops added refinement to the forms and that same spirit continues today.
MADE IN AMERICA. Stickley’s commitment to American manufacturing remains strong. Throughout its 125-year history, it has produced America’s finest handcrafted furniture, with more than 90% still built in New York and North Carolina.
RICH HISTORY. For 125 years, Stickley has stood for unparalleled American craft. And our story began with three words: “Als Ik Kan”—to the best of my ability.
CRAFTSMANSHIP. Well-made furniture sets the scene for a lifetime of memories. Thoughtful and time-honored construction features are the Stickley Difference. Heirloom quality furniture to be enjoyed for many years to come. Shop our Stickley Furniture collections now at goodshomefurnishings.com
Explore the finest new looks from Stickley Furniture.
RUG COLORS AND STYLES Choosing the rug color and style will serve as a great starting point for designing the overall look of your room.
Once you have decided on the quality level of the rug you would like to purchase, the next step in the selection process is the style and color. Many designers and consumers, when building a design, often start their project with the rug selection as it is typically easier to match furniture finishes and fabric choices to a rug, than vice versa.
Rug selection is very subjective and often comes down to the feel of the fibers or pile of the rug underfoot, the vibrancy of the colors, and pattern of the design. Like furnishings, rug designs follow more traditional looks with ornate designs and bold colors, and can be more modern with geometric designs, or more muted color tones.
Rugs are considered the “anchor” to a room; pulling everything together and framing a room by pulling the various colors of fabrics, finishes, wall colors, flooring, window treatments, and accessories into a beautiful presentation that maintains a highly curated look.
Quality, Handcrafted Stickley Furniture.
Well-made furniture sets the scene for a lifetime of memories. Thoughtful and time-honored construction features are the Stickley difference.
MAKING QUALITY FURNITURE FOR OVER 125 YEARS. Enduring tradition, superior craftsmanship, and an unshakable philosophy of excellence are the values that allow Stickley to produce America’s premium hardwood furniture and fine upholstery. Each piece is made with honor, integrity, and pride.
Good’s proudly welcomes the newest collections from Bernhardt Furniture.
Our recent market visit to the new Bernhardt Showroom in High Point did not disappoint. The space was incredible and filled with some of the newest styles, fabrics and inspiring new designs. Every category was romanced in fine fashion.
For The Well-Dressed Home.
A passion for inspired design. Uniquely beautiful materials. An elevated aesthetic. Crafted with the idea that great design tells a story. All perfect for the rooms in your home.
RUG SIZE Choosing the right rug size for your room is very important and if sized correctly your rug will serve as a nice piece of functional art.
With the color, pattern, material and construction decisions behind you, it is time to decide on the shape and size of the rug. There are many ways to present a rug in a room, but there are also some general rules to follow for use with upholstery, bedroom and dining rooms.
Size Matters - While quality rugs can be custom-made at any dimension you wish, there are some typical sizes that most rug suppliers will offer, although exact dimensions may vary. In rectangular rugs, 5’ x 8’, 8’ x 10’, 9’ x 12‘ and 10 x 14’ are very common; in round rugs, you will often find 6’ and 8’ rugs, which are most often used under round dining or accent tables.
To see or not to see, that is the question – Many room designers use rugs to be fully seen, and others choose to hide a portion of the rug under furniture such as a bed or a sofa. Often a large rug will be utilized under a queen or king-sized bed where the long side of the rug rests under half the bed with the other half protruding from the footboard end of the bed. This provides the color and pattern to complement the room, without being overwhelming. For bedrooms with hard flooring surfaces, a large rug, such as a 10’ x 14’ is a good choice for the bed to sit atop as it provides a perimeter around the bed for the owner to comfortable land their feet on as the enter and exit the bed, while providing a hint of the rug’s color and pattern. For rectangular dining tables, you will want your chairs to rest comfortably on the rug and be able to be pulled out for sitting while remaining on the rug. Use this rule of thumb – add 24” to the width and end of your table dimensions and that is the minimum rug size you will need; you will also want to keep at least 12” from any wall. If your table has a leaf (or leaves) be sure to account for this if you want to use these leaves and have your end chairs sitting properly on your rug.
We invite you to shop the newest Bernhardt seating collections. Trends and stylish fabrics perfect for any room.
MAINTAINING YOUR RUG Your new rug is an investment and can last for many years if well-maintained and cleaned. Below are some tips to help you care for your rugs.
Like anything of value, you will want to maintain your rug properly to ensure its beauty and durability; after all, high quality rugs are heirlooms that are often handed down from generation to generation. However, unlike wall art, rugs are used underfoot in the home and do get soiled and can show signs of wear.
What a nice pad - One of the easiest ways to help care for your rug, and your flooring underneath for that matter, along with providing a safe, slip-free surface, is to use a rug pad underneath your rug. Whether your rug is resting on a hard floor, or atop carpeting, rug pads are made in a variety of materials for different applications. Rug pads can also provide an extra layer of comfort and insulation under thinner rugs, and breathable rug pad materials also provide mildew resistance.
The best thing you can do for your rug is to vacuum it regularly, which will keep dirt from embedding around delicate wool and silk fibers, reducing friction and wear. Every so often, it is a great idea to flip the rug over and vacuum the back side of the rug, where very fine dust particles that have penetrated through the fibers can reside and cause damage. Be careful when using high-powered vacuums, and always disengage the beater bar on your vacuum. If concerned about damaging your rug with a vacuum cleaner, manual sweepers and even hand brooms are good options, and have been used for centuries.
