Looking Back on October 2025 High Point Market Trends

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Ahead of High Point Market this weekend, we’re looking back on last season’s trends. High Point Market last October felt at once familiar and refreshed. While some of the conversation centered on tariffs and economic uncertainty, the mood across showrooms was surprisingly optimistic. Instead of retreating, designers were refining. In that spirit, this Market favored heritage over hype and craftsmanship over vague concept. Traditional design reemerged as a defining theme but not in a nostalgic, overwrought way.

We saw that turn toward traditionalism re-imagined with luxe textures and sculptural silhouettes that never felt dated or “done”. From Adriana Hoyos to Hickory Chair, our team was struck by the unapologetic femininity of this season’s furnishings, lighting, and décor. Where more masculine, sharply tailored forms have dominated previous markets, this season was awash in nature-inspired color palettes, floral motifs, and delicate detailing.

Between the references to design decades past and inspiring panels by industry leaders, our team felt that this Market celebrated endurance, of designers and the profession itself. 

“Most designers were sourcing, connecting, and planning for growth in 2026. There was a lot of optimism in the air this Market, which isn’t what I was expecting.”

—Melissa Grove, COO of Laura U Design Collective, Co-Founder of DesignDash 

*This article was originally published in the Fall 2025 issue of DesignDash Magazine.

Trends Spotted at October 2025 High Point Market 

#1 Both Fun and Fancy Floral Motifs

Florals were everywhere last season, although not in a singular style. The tone certainly shifted from room to room, sometimes playful, sometimes very formal. That renewed range made this trend notable. According to Melissa, Hickory Chair stood out in particular for its florals, which could be found on upholstery and more.

Both Melissa and Laura Umansky noted how often chinoiserie appeared across Market. You could see it in screen panels, case goods with painted fronts, and carefully patterned upholstery. At Hickory Chair, we noted traditional garden scenes, climbing branches, birds and blooms. But other showrooms pushed florals in much different directions. At Vanguard, an Art Nouveau-esque dandelion motif appeared on upholstered benches and armchairs. The pattern was a bit unexpected, almost graphic. It gave a playfulness to otherwise tailored rooms and proved that a floral theme does not always have to be “sweet”.

Universal Furniture’s collaboration with Crypton Textile and Eichholtz’s showroom both referenced European tapestries. At Universal, floral upholstery was muted, with a tapestry look in soft, almost sepia tones. These pieces felt comfortable and familiar, as if they might have been in the family for years. Designer Britany Simon highlighted tapestry upholstery in her own recaps, also referencing the “gorgeously feminine” curves and motifs throughout the Market.On Instagram, Style Spotter (and DesignDash podcast guest) Victoria Holly added a neutral floral wallpaper to her Fall New Product Picks. Describing Tempaper Co.’s Poppies Peel and Stick Wallpaper, Holly writes that “the soft, low-contrast tones make it feel delicate and pretty, offering the freshness of a floral pattern without overwhelming a room.”

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In that sense, “fun and fancy” is less a contrast and more a pairing. The best floral pieces this Market boasted both qualities at once. They entertained the eye, referenced historical prints, and still felt ready for long-term use in real rooms today.

#2 Rich Heritage Finishes and Dark Woods

This season, traditional craftsmanship made a full return, and showrooms embraced it wholeheartedly. Darker woods like espresso, walnut, and mahogany appeared in nearly every showroom, which was a sharp departure from the pale, bleached tones that have dominated recent years.

“Everything is cyclical,” said Melissa. “I love seeing curves, scalloped design, and rich, darker woods. There was definitely a call back to traditional design, which could be indicative of our current social climate, but it’s done very well—lots of Ralph Lauren-inspired looks.”

At Baker, their signature burgundy finish became shorthand for the mood of this season: moody, elegant, and self-assured. House Beautiful’s editors noted similar cues in their Market coverage, describing “colorful twists on tradition”.

Across Century, Hickory Chair, and Rowe, these darker tones grounded collections that otherwise leaned romantic or feminine. The contrast between soft silhouettes and substantial finishes ensured these polite, poised furnishings also had gravitas. If earlier markets celebrated ease, lightness, and minimalism, this one prioritized permanence. Many of the pieces we viewed would feel inherited and meaningful even when they were brand new.

#3 Curves, Scallops, and Feminine Silhouettes

Everywhere we turned, we saw softened edges. Scalloped headboards, rounded chair backs, skirted tables… shapes that once felt overtly romantic appeared newly relevant. Like the florals mentioned earlier in this article, the overall effect wasn’t overly feminine; it felt intentional and refined. DesignDash Co-Founder and Laura U Design Collective founder Laura Umansky noted,

“Scalloped edges were everywhere—headboards, tables, skirts on chairs. They feel sweet but up to date.”

Her observation fit what we saw across the board: designers leaning into form as ornament, but with restraint and composure. A curved arm or a pleated detail added personality without feeling like set dressing.

At Vanguard, scalloped aprons framed otherwise clean-lined case goods, while Hickory Chair showcased arched silhouettes upholstered in rich jewel tones. Over at Verellen, soft geometry met moody palettes (blush pinks, merlot, camel) to create rooms that felt both composed and personal. Feminine but not fragile.

“Curves are part of that broader return to comfort,” Melissa said. “Designers want spaces that feel inviting and expressive, but still polished.”

Softer forms didn’t dilute sophistication, though comfort is often misunderstood that way. The Market proved that femininity, when executed well, has as much authority as structure or scale.

The resurgence of curves also connected naturally to craftsmanship. At Bentwood, hand-stitched skirts, and tailored upholstery spoke to the touch of the maker as much as the eye of the designer. Everywhere we looked, the human hand shaped silhouettes.

#4 Jewel and Earth-Toned Palettes with Depth

Color palettes were a bit more seasonal than expected. Burgundy, rust, navy, and deep green set the tone at most of the showrooms we visited, shifting away from the endless calm of gray and beige. “Burgundy, rust, ochre, deep evergreen,” said Melissa. “But I also saw a lot of vibrant orange, which is new for Market.”

Some designers noted a return to 1970s color palettes; avocado made a surprising showing. Laura identified another range of tones: “Light blue, deep wine, and warm champagne,” she said. Those combinations made appearances at Vanguard, where the showrooms felt moody and romantic, even a bit cinematic in their lighting. If earlier markets leaned into the cool neutrality of minimalist and transitional design, this one turned toward richness and depth.

At Rowe, fabrics in rust and evergreen felt timeless. Four Hands leaned into amber and oxblood, while Regina Andrew layered ochre against walnut. Still, the color palettes were somewhat restrained. Color was “the main character,” so to speak. It wasn’t a mere costume.

#5 Handcrafted Textures and Woven Details

Texture was more substantial this Market. Melissa noted “mohair, velvet, lots of leather, and ebony wood”. You could sense a renewed appreciation for tactility in how metals catch the light, how wood grain traverses a tabletop, and how soft finishes completely change the atmosphere of a room.

Jamie Young & Co. captured that spirit well. “We had an amazing personal tour with her,” Laura said of designer Jamie Young. “She told us stories of the artisans she collaborates with and the inspiration behind her products.” That kind of intimacy between designer and maker echoed across showrooms. This season, craftsmanship truly felt less like marketing and more like conversation and connection.

Cane and rattan still made an appearance but they weren’t everywhere. The appeal this Market wasn’t novelty but honesty, reality, longevity. At Currey & Co., woven pendants added dynamism, asymmetry, and irregularity to formal rooms. Hickory Chair leaned on mohair and velvet. We loved that these weren’t showroom-only pieces.

#6 An Alabaster Revival

Between the heavy woods and richly saturated color, we found alabaster. Not every standout material this Market was about warmth or weight. For Rhonnika Clifton, alabaster was the surprise story of the season. It wasn’t new, but it felt newly appreciated and certainly newly interpreted. As Rhonnika Clifton noted, “Alabaster popped up in lighting, accessories, and sculptural details. It proves that natural materials and subtle texture still have staying power.”

At Fine Art Handcrafted Lighting, alabaster was the material. Lamps, sconces, and pendants all caught the light in soft, diffused tones. The material had presence without obvious effort. Luminous, weightless, you could almost feel the temperature difference between it and the warmer metals surrounding it.

Rhonnika mentioned that her first few days at Market were quieter than usual, but that visit to Fine Art changed her outlook. “It sparked a deeper conversation for me about artistry and the creatives who are the real MVPs of this industry,” she said. That shift mirrored what alabaster brought: subtlety yet honesty and commitment to true craftsmanship.

Regina Andrew incorporated alabaster too, but this showroom paired with brushed brass, while Currey & Co. let it stand alone.

#7 Function Meets Form

Even with all the focus on heritage and craftsmanship, utilitarianism had its own moment. Innovation incorporated in lighting and furnishings this season was quiet, practical, and more about improving experience than chasing the coattails of a screaming technological revolution.

We noticed it most in motion furniture, convertible daybeds, integrated lighting, and other adaptable pieces that support the way designers actually work and clients actually live.

Four Hands, for instance, expanded its hospitality collection, showing pieces that could move seamlessly between residential and commercial settings. Lee Industries explored scale and shape with oversized ottomans and deep sofas.

And performance fabrics, especially from Kravet and Crypton, showed how durability and luxury can walk hand in hand. These weren’t “tech” pieces in the futuristic sense. They were practical, beautiful, and carefully made.

Across the seminars and showrooms, the emphasis on smarter business paralleled what we saw in design. Laura noted that “designers are interested in how to run successful firms, beyond the creative.” That same pragmatism applied to the furniture itself; beautiful, yes, but built for real life. This marriage of function and form wasn’t new, exactly. But this Market treated it as refinement rather than reinvention. Designers seemed to understand that evolution doesn’t always mean invention. Sometimes it just means enhancing what already works.

Closing Reflections

Melissa called this Market “celebratory.”

Laura chose “innovative.”

Rhonnika described it as a space to “honor those who value artistry, design, and craftsmanship.”

Together, those three impressions summarize the tone of Fall 2025. It wasn’t a radical season, but it certainly was a reassuring one. We set trends, refine them, and place them in the course of history, whether that’s invention or interpretation.

See You This Weekend!

We can’t wait to see what designers, vendors, and brands have to show us at the April 2026 High Point Market this weekend.

Written by the DesignDash Editorial Team
Our contributors include experienced designers, firm owners, design writers, and other industry professionals. If you’re interested in submitting your work or collaborating, please reach out to our Editor-in-Chief at editor@designdash.com.