horner & company : press : magazines
Western Interiors and Design
March-April 2004
Pacific Heights French Lesson: Architects David Darling and Richard Brayton created a contemporary version of a Parisian townhouse for clients in San Francisco, pgs 132-141
Sherrie Horner notes: The curtains created for this house are very interesting forms—definitely contemporary, yet informed by tradition according to the demands of the architecture, furnishings, and overall fabric choices. The curtains are very elegant without being over-embellished; the look is clean and modern but more complex than a minimalist expression.
Architectural Digest
March 2004
Designers Discover Design: The Artistry of Draperies, pg 58
Excerpt: Horner then dedicated herself to learning all she could about the craft—visiting historic houses in England, consulting with others who became mentors—and eventually opened her own workshop. Horner & Company, in San Francisco, specializes in draperies and soft furnishings. "She's the couturier of curtains," says Suzanne Tucker.
November 2001
Shingle Style by the Bay, pgs 252-257, 315
Excerpt: For the overall design, [Robert A M] Stern drew on the rich legacy of San Francisco's domestic architecture, especially the large rustic shingled houses built at the beginning of the 20th century by Coxhead & Coxhead, Willis Polk, and Maybeck. These residences, less formal than their East Coast counterparts, due to some extent to the city's irregular topography, were at once sheltering and grand, sophisticated yet attuned to the rugged, wind-swept quality of the landscape.
Sherrie Horner notes: Again, the window treatments here are contemporary but not minimalist, sophisticated but not formal. On the East Coast, the choice of fabric would be much more formal, and would certainly demand silks, but here fabrics included embroidered cotton, striped linen, and wool-on-cotton crewelwork. To match the oval motifs throughout the house, the custom hardware had to be made with an oval fascia—quite difficult, but beautifully done by Dave Holsonback at Reification.
San Francisco Magazine
November 1999
History by Design: Living with Antiques, pgs 7-19, special advertising section
Three San Francisco family homes by Geoffrey De Sousa: Horner & Company worked with Geoffrey De Sousa on three architecturally powerful homes furnished with a combination of antiques and contemporary pieces.
Window Fashions Magazine
July 1997
Working for Royalty–How Speaker was Tapped for Palace Project, pg 53
Window Fashions asks Sherrie Horner how her workroom was chosen to sew for the King and Queen of Thailand's Royal Palace at Bang Pa-In, and also:
WF: Why did you choose to specialize in window treatments?
SH: I think I would say that window treatments chose me….I love the sensuality of textiles. I love mathematics. I love history. I love making things—taking an idea and finding a way to realize it.
January 1995
In the English Manner–Interlining with Bump Cloth, by Sherrie Horner, pgs 24-27
Excerpt: The design virtues of an interlined curtain—its protection and enhancement of fabric, its value as an insulator against the cold of winter, its aesthetic value—are practical and unparalleled.
December 1994
Market Report: Decorex Natural and Neutral in London, by Sherrie Horner, pgs 17-20
Excerpt: As long as I have been designing and making curtains, I have attended Decorex, London's annual exhibition of interior design merchandise. It has always been inspiring. The English have a wonderful tradition of using textiles to create homes that elegantly provide both privacy and comfort against the climate. Draperies and valances are richly designed and executed with a most refined workmanship. Whether in London or the countryside, one is very likely to see something appropriate, beautiful and well-made dressing the window. I believe there is a fluid connection between this tradition and the exceptional design sensibilities one consistently finds at Decorex.
October 1994
The Road We Have Taken–A Closer Look at Organic Cotton, by Sherrie Horner, pgs 16-18
Excerpt: It is true to say that designers have always preferred natural fiber textiles—the cottons, linens, silks and blends of these—for their color and draping qualities. The naturals take color subtlety and intensity far better than synthetics, and they drape so beautifully which is so important for curtains and treatments like swags. It may well be that in the future our clients, and so the designers and workrooms, will be asking all the questions we are asking now: What is it made of? Where did it come from? How was it finished? How will it affect the planet and how will it affect the environment of my home? as well as how is it going to look? So our definition of design will have to expand to include all of these concerns.
French by Design, by Betty Lou Phillips, pgs 25, 138, 140
French Influences, by Betty Lou Phillips, pg 113
Provençal Interiors, by Betty Lou Phillips, pg 65
Villa Décor, by Betty Lou Phillips, pgs 30, 35, 103
view select images 1 2 3 4
Western Interiors and Design
March-April 2004
Pacific Heights French Lesson: Architects David Darling and Richard Brayton created a contemporary version of a Parisian townhouse for clients in San Francisco, pgs 132-141
Sherrie Horner notes: The curtains created for this house are very interesting forms—definitely contemporary, yet informed by tradition according to the demands of the architecture, furnishings, and overall fabric choices. The curtains are very elegant without being over-embellished; the look is clean and modern but more complex than a minimalist expression.
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Architectural Digest
March 2004
Designers Discover Design: The Artistry of Draperies, pg 58
Excerpt: Horner then dedicated herself to learning all she could about the craft—visiting historic houses in England, consulting with others who became mentors—and eventually opened her own workshop. Horner & Company, in San Francisco, specializes in draperies and soft furnishings. "She's the couturier of curtains," says Suzanne Tucker.
November 2001
Shingle Style by the Bay, pgs 252-257, 315
Excerpt: For the overall design, [Robert A M] Stern drew on the rich legacy of San Francisco's domestic architecture, especially the large rustic shingled houses built at the beginning of the 20th century by Coxhead & Coxhead, Willis Polk, and Maybeck. These residences, less formal than their East Coast counterparts, due to some extent to the city's irregular topography, were at once sheltering and grand, sophisticated yet attuned to the rugged, wind-swept quality of the landscape.
Sherrie Horner notes: Again, the window treatments here are contemporary but not minimalist, sophisticated but not formal. On the East Coast, the choice of fabric would be much more formal, and would certainly demand silks, but here fabrics included embroidered cotton, striped linen, and wool-on-cotton crewelwork. To match the oval motifs throughout the house, the custom hardware had to be made with an oval fascia—quite difficult, but beautifully done by Dave Holsonback at Reification.
view select images 1 2
read about Dave Holsonback's art and designs in Hot Metal, Cool Art
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San Francisco Magazine
November 1999
History by Design: Living with Antiques, pgs 7-19, special advertising section
Three San Francisco family homes by Geoffrey De Sousa: Horner & Company worked with Geoffrey De Sousa on three architecturally powerful homes furnished with a combination of antiques and contemporary pieces.
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Window Fashions Magazine
July 1997
Working for Royalty–How Speaker was Tapped for Palace Project, pg 53
Window Fashions asks Sherrie Horner how her workroom was chosen to sew for the King and Queen of Thailand's Royal Palace at Bang Pa-In, and also:
WF: Why did you choose to specialize in window treatments?
SH: I think I would say that window treatments chose me….I love the sensuality of textiles. I love mathematics. I love history. I love making things—taking an idea and finding a way to realize it.
January 1995
In the English Manner–Interlining with Bump Cloth, by Sherrie Horner, pgs 24-27
Excerpt: The design virtues of an interlined curtain—its protection and enhancement of fabric, its value as an insulator against the cold of winter, its aesthetic value—are practical and unparalleled.
December 1994
Market Report: Decorex Natural and Neutral in London, by Sherrie Horner, pgs 17-20
Excerpt: As long as I have been designing and making curtains, I have attended Decorex, London's annual exhibition of interior design merchandise. It has always been inspiring. The English have a wonderful tradition of using textiles to create homes that elegantly provide both privacy and comfort against the climate. Draperies and valances are richly designed and executed with a most refined workmanship. Whether in London or the countryside, one is very likely to see something appropriate, beautiful and well-made dressing the window. I believe there is a fluid connection between this tradition and the exceptional design sensibilities one consistently finds at Decorex.
October 1994
The Road We Have Taken–A Closer Look at Organic Cotton, by Sherrie Horner, pgs 16-18
Excerpt: It is true to say that designers have always preferred natural fiber textiles—the cottons, linens, silks and blends of these—for their color and draping qualities. The naturals take color subtlety and intensity far better than synthetics, and they drape so beautifully which is so important for curtains and treatments like swags. It may well be that in the future our clients, and so the designers and workrooms, will be asking all the questions we are asking now: What is it made of? Where did it come from? How was it finished? How will it affect the planet and how will it affect the environment of my home? as well as how is it going to look? So our definition of design will have to expand to include all of these concerns.
horner & company : press : books
A selection of Dallas homes with interiors by Richard Trimble, ASID and custom sewing by Horner & Company:French by Design, by Betty Lou Phillips, pgs 25, 138, 140
French Influences, by Betty Lou Phillips, pg 113
Provençal Interiors, by Betty Lou Phillips, pg 65
Villa Décor, by Betty Lou Phillips, pgs 30, 35, 103
view select images 1 2 3 4
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