Malene and her limited edition “Tap Tap” carpet. Inspired by the colorful buses of the same name in Haiti, she donated the profits from the sale of this carpet to Aid to Artisans Haitian Artist Recovery Fund.
Since the 2009 launch of Malene b Custom Handmade Carpets, principal Malene Barnett has enjoyed enviable and well-deserved publicity including features in Interior Design and New York magazines, the Los Angeles Times and widely followed websites Design*Sponge, Apartment Therapy and The Selby.
It was the inclusion of the “Tap Tap” carpet in the catalogue for The Global Africa Project (GAP) at the Museum of Art and Design which brought me face-to-face with the entrepreneur whose handmade carpets were generating considerable design buzz. We’d been introduced virtually by artist Cheryl Riley but it was at the magnificent exhibit’s opening last fall that we actually shook hands and committed to meeting for a one-on-one chat (which would reveal we’d met many years earlier.)
Her own work imbued with illustrative motifs, Malene found herself in great company amid the artists and designers included in the GAP, such as Kehinde Wiley whose work graces the catalogue cover and interior designer Sheila Bridges (far right) whose “Harlem Toile” suite of home goods is featured.
An ardent traveler, Malene’s life and work are woven with the inspirational threads of her global journeys. She collects local teas from every region she visits so when we sat down for tea in her inviting Bed-Stuy townhouse, the choices ranged from Jamaican Hibiscus to African Rooibos. Furnished with a refreshing economy of possessions, her home, designed by Henry Mitchell, is airy and expansive. Punctuated with the artifacts of her travels and just-enough furniture, the rooms, with their jubilant colors (turquoise, sunny yellow, relaxing lavender) evoke sunshine and trade winds even on the grayest of days. She envisions an eventual return to her Caribbean roots; her mom, Cynthia is from St. Vincent, her dad, Franklyn from Jamaica. Her goal is to own a home high on a hill. “I don’t have to be on the ocean, I just want to see it.”
Malene’s serene, sun-drenched master bath. Photo: Henry Mitchell Interior Architecture.
Though she is Bronx-born, Malene’s parents “wanted to raise the kids in the suburbs” and pulled up stakes for Norwalk, Connecticut, where she grew up near the beach. Teachers discovered her creative leanings early on and selected her for the school’s artistically talented program when she was in the third grade. She recalls being instructed that artists sign their works with either first initial and last name or first name and surname initial. She at age eight, proudly signed, Malene B. “Malene has something special, we need to cultivate it,” her mother said.
And a brand was born: Malene’s first painting –with colorful carpet– hangs in her mother’s home to this day.
After her parents’ eventual split, Malene and her two sisters were raised by their mom with love and high standards. “I have to feed you and educate you,” Ms. Barnett would say. A classical pianist and educator, she required her daughters to learn violin. Malene played for 6 years, seriously considering its pursuit until tenth grade when she had to choose between violin and painting classes. “I was playing softball and volleyball and painting. I was into my sports and into my art,” she says. “I said, ‘Mommy, I’m not into the books, I’m into the paintbrush.” Nonetheless Cynthia Barnett expected her girls to excel academically and to contribute to their college funds with summer employment when they came of age. As a result Malene was “into my hustle –designing t-shirts, always thinking entrepreneurially. I had to come up with monies for my education, $1000 a summer.”
Dr. Cynthia Barnett surrounded by her girls, Debbie, Malene and Nneka.
Her personal criterion for college was clear: “I wanted to paint and play volleyball and Purchase had both.” Though the SUNY school had a reputable fine art program, she “decided that I didn’t want to be a starving artist,” and considered the commercial arts. Her grandmother had been a fashion designer so fashion illustration appealed to her and she transferred to another SUNY school, the Fashion Institute of Technology in New York City where she soon realized that though she could draw, illustration was not her strong suit. She chuckles as she recalls a conversation with her then-illustration instructor. Prof. Ishikawa: “Barnett, what are you going to do?” Malene: “A BFA in Textiles.” (she’d just discovered FIT’s Textile Surface Design program through hallway displays of student work) Prof. Ishikawa: “That’s going to be the best thing for you.”
Professor Ishikawa was right. Given Malene’s love of texture and strong sense of color and pattern, she excelled in the major. Then her cultural heritage began to call: “The Autobiography of Malcolm X woke me up. Public Enemy and X Clan were popular at the time.” She seized the opportunity for a three-week cultural exchange in Ghana. “It was my awakening, from then on every opportunity I had, I infused our culture, using our motifs.” While still a student, she freelanced with the late Kerris Wolsky at Harlem Textile Works.
Her multi-disciplinary major introduced her to a variety of specialties, including rug and carpet design which suited her textural sensibilities. One of the projects for an independent study was to create carpet designs for Carnival Cruise Lines. Ultimately, Malene received the department medal, graduated with honors and won the Stark Carpet Design Award for her design “African Folktale.” For graduation she treated herself to a trek through Ghana, Gambia and India.
Upon her return Malene began a two-year stint as Design Director of Afritex, designing African-inspired prints. (It was on a market appointment for Essence Magazine that I met Malene at the Afritex showroom) When layoffs ended her tenure there, she accepted a position as the first in-house designer at Nourison Rugs, one of the world’s leading producers of imported handmade rugs where she “stepped up my game with computer design.” Her dormant entrepreneurial spirit re-emerged when on May 5, 2000, she boarded a plane to “backpack through Southeast Asia and find a manufacturer in India…At the time I was planning to launch a bedding line.” Realizing that she lacked import acumen, she shelved the idea. “I knew how to draw a pretty picture but not the business side of production imports.” When Nourison called her back to work on a project that would eventually last four-and-a-half years, she met Sales Manager Gary Shafran (who would later become her business partner.) Together they worked to build Nourison’s accent rug division, catapulting their business from $1 million in sales to $17 million. “My design transformed their business,” but she ultimately hit a glass ceiling, “there would be no more growth…So I wanted to leave.” Gary found positions for them at another company, JLA, where they worked for two years before Malene proposed launching their own line focused on her design aesthetic. Having created carpets filtered through the corporate points-of-view of the various lines she designed (Nicole Miller, Martha Stewart, Nautica, Liz Claiborne, Nate Berkus, to name a few) she was ready for her own expression.
Gary, also ready for a change, agreed and they spent the next nine or so months developing the business that would bring globally inspired, hand-tufted, hand-knotted and flat woven custom carpets to the marketplace. As committed as she is to sharing a design aesthetic shaped by her exploration of indigenous cultures and an ever-broadening worldview, she is equally committed to ethical production and trade:
It is important for me to be socially conscious in all my endeavors. To that end, I proudly support Goodweave and Aid to Artisans in their quest to eliminate child labor practices, provide education and preserve handmade crafts in Africa, Asia and South America. -From the malene b website.
A work in progress: A Nepali weaver crafting the “Market Women” pattern in wool and silk.
She found an early champion in the editor-in-chief of Interior Design magazine, Cindy Allen. “I met her on a plane in 2009.” They exchanged cards and arranged an office visit in New York. Malene recalls the meeting, “I brought six strike-offs (2′ x 2′ samples) and Cindy said ‘I like what you’re doing. I want to help you out, help jump-start your business,’ and gave me a one-page story in the magazine.”
Editor-in-Chief, Cindy Allen and Malene at the celebration for Cindy’s 10th anniversary at the helm of Interior Design Magazine. The “Wolof” rug which commemorated a trip to Senegal, garnered the first major press for the fledgling malene b and inspired the design of the custom iron gates at Malene’s Brooklyn home — they mimic the silhouettes’ small heads and elongated necks.
The self-described techie continues to get the word out by utilizing social media (“like” her on Facebook; “follow” her on Twitter and check out her blog) making appearances at trade shows and “networking like crazy.” She’s reveling in recent press in House Beautiful and L’Officiel Paris. And though she acknowledges that publicity isn’t “necessary for sales, but it validates,” the company (represented in showrooms in New York, Miami, Vancouver and Calgary) is capitalizing on the momentum and “focusing now on building sales.” Her “Masks” design has been commissioned for the ballroom of a Georgia college. She is looking forward to next month’s International Contemporary Furniture Fair where she’ll debut four new collections based where she’ll debut four new collections based on more subtle, open designs in hand knotted and tufted techniques. The thirty-four designs are inspired by such diverse iconic images as the paper fans of Kyoto, the colored glass of Murano, the Turkish pottery of Istanbul and the lavender fields of Provence.
The “St. Vincent,” so named for Malene’s mother’s homeland, provides the backdrop for a spread on Beyoncé in the March issue of L’Officiel.
In addition to growing her business, she plans, eventually to teach. “I like sharing and showing,” which she had the opportunity to do in January when she gave a talk about her design process at the University of the West Indies in Trinidad. What she has no plans of doing, however, is opening a store. “I don’t want to be tied to a physical space,” she says.
Over the course of a multi-hour visit with this vagabond spirit, we discovered a shared myriad of design pet peeves, a passion for travel (her “Kerala” and “Papunya” patterns pay homage to two of my favorite travel destinations, India and Australia) and a love of good food. Vegetarian like her artistic father, she views cooking as “another form of art, another expression.” Her specialty is tofu. “I can rock the tofu big time…I love food so much it has actually inspired my design:” the skin of a coconut (“Bahia“) the hypotrochoid shape of star anise (“Anise”) and stalks of sugarcane (“Kingston.”) She adds, “And I’m big on dessert.” It’s no surprise then, that her voyager’s trove is bracketed with sweets…
1. Fudge by Burnt Sugar. Malene discovered the UK treat at New York’s Fancy Food Show in 2007. She loves the tasty nibbles reminiscent of the fudgy goodness she purchases from “the lady on the side of the road, in the islands.”
2. The Color Turquoise. When asked to name her four favorite colors in a 2010 feature on photographer Todd Selby’s wildly popular, The Selby, Malene responded 1) turquoise 2) orange 3) turquoise 4) turquoise.
Her absolute favorite color welcomes all who visit her chic Bed-Stuy home. Photo: The Selby
3. Fulani Earrings. The nomadic women of the Fulani in West Africa receive the bold yarn-wrapped gold earrings from their husbands upon marriage or by inheritance upon the deaths of their mothers. Malene frequently rocks her Fulani-inspired hoops in homage.
Malene at home; a married woman in Senosa, Mali © 2004 Don Gurewitz; Fulani inspiration adapted for the Western market sans yarn and with small ear wires.
4. Jo Malone Fragrances. She enjoys the modern, unexpected blends of the celebrated UK brand.
One of her favorites, Pomegranate Noir.
5. Travel. It nourishes her spirit and informs her work.
Clockwise: chilling by the turquoise waters of Barbados; dried hibiscus in Trinidad; sand painting in Senegal; Bajan boulders; steel pan drums and Trini produce.
6. Spice Market Candle. From restaurateur James Boyce, the spicy aromas of cassia, ginger and ground cloves in an alluring collaboration with candle maker, Voluspa.
She keeps a large tin at the ready in her living room.
7. Isabel de Pedro Dress. A sleeveless, body-conscious column from the Spring/Summer 2007 collection, Harmattan features the Spanish designer’s signature use of photographic images as textile design.
A detail of the marvelous silk screened images from Africa.
8. My Moroccan Slippers. She actually bought the vibrant raffia and leather babouches of Morocco from the Sandaga Market in Dakar. Senegal. “I bought many pairs but this one has become my favorite because they make a statement with any simple outfit such as jeans and a t-shirt.“
“They are so comfy and I love the bright colors!”
9 Teal Wood Floors. White oak stained with the cousin of her beloved turquoise.
The subtle touch of teal graces the flooring throughout the parlor level of her townhouse.
10. Frosting from Butter Lane Cupcakes. Though she likes the cupcakes just fine, it really is all about the frosting and luckily for her, Butter Lane sells it by the shot, a buck a pop. A sweet, quick fix.
“I love pretty much all of their flavors but I will take a peanut butter or coconut shot any day.”