The New Vanguard: Los Angeles Creatives Redefine the Future of Home Design

Los Angeles has long served as a sprawling, sun-drenched oasis for unbridled inventiveness and experimental design. It is a city where architecture, art, and lifestyle intersect in ways that defy traditional categorization. In 2024, that creative spirit found a new, centralized stage when multi-hyphenate creative Holland Denvir launched LA Design Week/end. Designed as a sprawling, cross-neighborhood celebration of the city’s creative pulse, the event invites design enthusiasts to traverse the studios, showrooms, galleries, and workshops of the makers currently shaping the region’s aesthetic identity.

As the dust settles on the latest iteration of the event, the exhibitions, open houses, and candid conversations have provided a clear window into the future of domestic spaces. The consensus among the city’s leading designers, artists, and curators is a palpable shift in the winds: we are moving away from the polished, curated perfection of the recent past and toward a future defined by personality, human connection, and a healthy dose of "good" weirdness.

The Shift Toward Human-Centric Design

Meghan McNeer, co-founder and creative director of LA Design Week/end, observes that the current mood is driven by a desire to "surprise and delight." As a self-described maximalist who views clutter more as a curated collection of memories and interests, McNeer believes the era of sterile, AI-assisted living is triggering a counter-reaction.

"The more AI creeps into every part of our lives, the more we want our homes to feel unmistakably human—a little strange, slightly disheveled, and filled with evidence that people actually live there," McNeer explains. She points to the work of artists like Sam Klemick, whose wooden furniture often mimics the appearance of soft leather or tied fabric, and Oforo, whose shiny Mylar stools appear inflated and soft but are structurally rigid. These pieces represent a "trompe-l’œil" quality that forces a brief, playful disagreement between the eyes and the brain. For those looking to capture this spirit at home, McNeer suggests sculptural ceramic lighting from makers like Jonathan Entler, whose glossy, bulbous forms feel less like fixtures and more like otherworldly, friendly creatures.

Embracing the "Collected" Aesthetic

Hopie Hill, co-founder of the textile brand Block Shop, echoes the sentiment that the next wave of design is rooted in the "happy tension" of unlikely combinations. Hill sees a growing appreciation for warm wood, particularly in wall and ceiling cladding that pays homage to the organic, sculptural legacy of the Blunk House.

"People are having more fun with unlikely combinations from different time periods," Hill notes. "You’re seeing clean 1980s lines and wild palettes sitting alongside 1970s warm wood, weathered plaster, and turn-of-the-century chintz." This approach prioritizes a home that feels gathered over time rather than purchased in a single transaction. A simple, practical way to introduce this energy into a space, according to Hill, is the use of pleated sink skirts in powder rooms—a relatively low-cost intervention that transforms a functional corner into something charming and deliberate.

Breaking Free from Modernist Starkness

Architectural designer Ben Warwas, founder of Byben, believes that the industry is finally beginning to move away from the coldness of modernism. His recent work, including a compact Accessory Dwelling Unit (ADU) displayed during the design weekend, prioritized color, whimsy, and the use of humble materials like laminate to create surreal, monochromatic environments.

"We are going to move away from the starkness of modernism," Warwas predicts, pointing to the increased prevalence of tiled countertops and bold, colorful cabinetry. For the average homeowner, he suggests that curtains are an underrated tool for transformation. Rather than choosing plain window coverings, Warwas encourages the use of curtains that frame a view with intricate details, fringe, or bold textiles, effectively softening the hard lines of a room and adding a layer of cozy character.

The Return of Personality and Pathos

For designer and creative director Jonathon Burford, the current trend is marked by a long-overdue appreciation for the color red. While shades like oxblood and maroon have had their moments, Burford is excited to see the primary color asserting itself with newfound confidence.

Beyond color, Burford is advocating for a return to "messiness." He argues that the design world has been far too serious and perfectionist for too long. "I want to see the mark of the hand in objects," he says. His advice to those looking to evolve their space is simple: buy what you love, regardless of the trend cycle. If an object is chipped, lean into the patina. If it’s broken, repair it. This philosophy acknowledges that the most interesting homes are those that document the life of the inhabitant rather than a designer’s vision.

Global Traditions and Local Craft

Interior stylist Olivia Lopez, fresh from a trip to Korea, notes that the global design community is increasingly looking toward Eastern traditions for inspiration. She points to the ritualistic nature of home goods in Korea—silk fabric covers for tea, wood-carved trays, and artful, distinctive cutlery.

"What is seemingly decor is actually daily ceremony," Lopez remarks. She observes a rising interest in Japanese silk screens, sheer Korean fabrics, and the intricate pearl inlays characteristic of Philippine and South Pacific craft. This global exchange is finding a natural home in international hubs like Los Angeles, Paris, and New York. To integrate this, she suggests focusing on decorative vases and ceramics, which she describes as the most accessible way to bring in regional clay, local color, and the specific material culture of a place.

The Fluidity Between Art and Furniture

Denise Portmans and Sara Marlowe Hall, the duo behind Merchant Modern, believe the lines between art, craft, and design are becoming increasingly fluid. Through their curatorial work, they have seen artists move away from traditional vessels and into the realm of functional furniture and lighting.

"The lines between art, craft, and design are becoming much more fluid," they note. They encourage homeowners to pair a vintage sculpture with a well-designed chair, noting that the pieces do not need to "match" in a conventional sense. This lack of uniformity is exactly what gives a home personality, ensuring it feels curated and evolved rather than staged by a catalog.

Hybrid Aesthetics and New Narratives

Andre Herrero, of the firm Charlap Hyman & Herrero, agrees that we are entering a period of visual exploration. He predicts an "explosion of Art Nouveau accessories" in homes that otherwise lack the movement’s architectural pedigree. Similarly, Bryan Young of Young Projects is focused on what he calls "hybrid aesthetics." His studio experiments with how materials and finishes can merge disparate objects from different eras into a cohesive vignette.

"It’s neither historic nor contemporary, but something in between that makes people wonder what they’re looking at," Young says. He suggests that homeowners create their own narratives through small, layered displays—or "shoebox dioramas"—where historical artifacts and modern curiosities coexist to tell a new story.

Madelynn Scheinberg, founder of HAKO Vintage, emphasizes that as we lean further into an age defined by AI, the "human touch" will become the ultimate luxury. Whether through the bold choice of a brick-red painted floor or the curation of honest, handcrafted furniture, she believes that the future of design lies in recognizing and valuing the labor behind the object.

This sentiment is echoed by Candace Shure of Shure Design Studio, who suggests using traditional techniques—like cerusing wood—but applying them in unexpected, saturated colors like chartreuse or cobalt. "Bring something handmade into your home—something that you know was made by a person," she advises. "Anything where you can actually see and feel the hand of the maker."

Ultimately, as Laura Niles, founder of Showroom LA, points out, the future of our living spaces lies in their adaptability. Her work, including a steel table that doubles as a planter for microgreens, reflects a desire for objects that aren’t fixed in their purpose. As homeowners continue to explore these evolving trends, the message remains consistent: the most successful design is that which allows for change, embraces the history of the objects we keep, and prioritizes the messy, beautiful reality of human life over the pursuit of the perfect image.