All things grand, all aspirations millennial!

grandmillennial decor
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There’s this whole notion of millennials dwelling in the best parts of both the worlds of the antiquated and the modern that make this breed of earthlings so encompassing an identity in their own, coming across as a rather divervise mix of elements that are quirky and charming all the same whether it be in manifestations of their person or their spirit, their choices or their aspirations. Quite aptly therefore, these millennials of a time who reside in a vibe that makes them old school but still not outdated, contemporarily minimalist and still yearning for the grandeur of the maximalistic expression have come to create their own set of nuances that cater to their clan while also holding an appeal to all those who do not quite make the cut to be one of them, rather preceding or following their being. Whether it be as personal expression of style and aesthetic or rendition of an experience that instantly takes on a more universal preference, the millennial leanings are forever those inclined to make a statement, whether in subtlety or in extravagance.

Catering to the sphere of existential dualism that this breed of humans have so fluently made a part of their nature is a particular free flowing expression of design that sums up truly efficiently the double conventionalities of the millennial life. Striking yet subdued, cosy and classy, nostalgic but still very present- day indeed is this disposition of the living that comes across as a remarkable assimilation of ideas and tastes, each dignified enough in their existence that is as present today as it had been in the times of a past. The world identifies this today as a trend that has been spanning the couture of living rooms for a couple of years now and that which finds flamboyant expression through a term as reflective of the millennial impact from where it has had its beckonings, shaping itself therefore as a form of the grandmillennial style of home decor. Pursued by those in the age range of the mid 20s to the late 30s, though appealing to all who delight at discovering elements of the good ol’ times in the midst of the chic modern day countenance of homes and spaces, the grandmillennial style of doing things up is by every means a grand exuberance of the living space that conveniently pairs up with influences that retain a timeless stance regardless of the millennia in which they come to rule, for an artful flowing of aesthetic vision that lives up to the many cosy yearnings of the soul in a manner that is relaxing, and somewhat exaggeratedly almost as if it is some tuning in fine rhapsody.

The Grandmillenial term itself is a direct coveyor of the design ideals that this style of the aesthetic spans across, with very evidently the millennial aspects at play while mingling with the ever so evocative rendition of the warmth that the colloquial reference of all things remniscient of the grandmotherly vibes brings one to a realisation of. The vision that unfolds therafter tends to be as clear as well- the warm, happy chatter of a boisterous grandmother ushering in all the romances of conviviality and good zest even as a sleek millennial tries to work their way into a space that is suppossed to feel like comfort and look like sophistication all at once. Young vibes residing in touches of the retro that lends a wholesome cosiness to the lives that come to explore their own selves there, the Grandmillennial style indeed is a convergion of ideas and ambitions and visions that strive to bring out the same end goal in view- that of blissful, contented and happy existences.

With such themes that lies somewhere in the ides of two simultaneous ‘eras’, it is not difficult to deduce the many elements of this particular design fad that is taking the world by storm. Particularly refreshing is the diversion from the now too routine recurrences of stark whites reflecting in even starker symmetries of spaces splashed across social media sites in conformity to a whole lot of prevailing ways of life that has become dependent too heavily and as habitually on the frail frame of minimalism. As a break from the lack of substance that modern design sensibilities increasingly favour to do away with the mess of clutter, the grandmillennial trend sees an existence in profusion in rather cheery, definite, even essential elements of the floral and the flouncy, of the lace and the frills, set to work against a tapestry of rather solid colors in sync with the pallete preferences of the modern day world so as to evolve as a style remarkable in its presence to be worthy of show, but not showy still. Patterns, prints and plaids are obviusly then a key essence of this design fad that resides in such motifs and embellishments that had not been as big a craze in rather recent times as they had been some few years in history. The flow of the traditional is rather stand out though, through such workings of decor like tassels and pleats, chitnzy encompassments of comfort and punchy patterns of beauty, needlepoint cushion covers in all hues that makes them look like a magical bloom of the prettiest flowers, china and ceramics in the most standout shades of the conventional blue and white, even glass jars and vases that are anything but resident in the neutral tones of a world increasingly choosing to coccon itself into the safe zone of the neutrals, and of course more standard sets of skirted tables and furniture of stained wood that embody a richness and resides in a liveliness complimenting so well the mid century essentials of abstracity and edgy in design.

Despite all its exuberance in essence and aesthetics, it is quite surprising- this catching up of the Grandmillenial trend in the realms of the design paradigm that is forever fluid but still aspiring for ‘refined’ reiterations of the modern human’s affinity for luxe style and subdued grandeur. To think that such elements of life that have been never perceived as ‘belonging’ to the times of the 21st century, let alone rule its reckonings, such as overstated embroidery on cushions and a prominent splash of florals across wallpapers, would blend in so seamlessly with the more elegant allure of the metallics and the infinitely polished dazzles shining thorugh the liberal ‘less is more’ belief that the years of the new millennium has found itself to be the identity bearer of is indeed nothing short of a magic that homes across the world has come to live in today. Perhaps what has worked in making this particular fad, in passing or otherwise, a veritable mainstay in today’s utterances within the aesthetic medium is not so much the look afforded by it as is done by the underlying emotions. In a day and age where blissful comfort and warm cosiness is not so common to come by, scouted out instead by delving deep into cultural explorations of hygge and the like, to desperately arrive at a state of desirable existence where the soul would be stirred by the good cheer that grandmoms radiate in all their infectious laughter and smiles from a heart gilded in the golden lustre of love, is what must be driving, at least in part, this whole willingness to dwell in a world that should look only partly our own. Surprisingly rather then, this measure of what would be a throwback aesthetic is enamoring so much because of the premises it rests on- those emulating the emotions capable of arising only from a space that feels safe enough to translate into a truer embodiment of the threads from which life is woven out as a beautiful tapestry of being. From the design perspective however, this embracing of such themes that are more hearty and heartful and jovial is a wonderful detour from the monochromatic mundanities of expression our generation had been somewhat limited by, for quite some time now. In its manner of doing things as they are, unpretentiously and undisguisedly, this return to the times redolent with the warm geniality and affection of our loving grannies, whose truly human awareness led them to be as big in their desire for reflecting the beauty that lay within them, marks an expression of individuality and personality, that is substantial enough in its doings without being and feeling stuffy, making therefore for a room of one’s own where one finds their true selves flowing and flourishing and fulfilling of their own expectations of the good life. To attribute such musings of philosophy to something that seems as physical and ‘confined’ as a space merely done up in a particular (fleeting) fad of the design etiquette that dwells in one convention today and a dramatically different one the very next moment might come across as too deliberate a means of imparting substance to what is better off being stylised. But isn’t our penchant for life in fact a cumulative blend of what we aspire for and what we do to make those aspirations a reality? If indeed it is so, then this beauty we are exploring at the present would let us discover all such elements of the existential through such means that are gratifying in the aesthetics as well as the abstracity of the myriad manifestations through which life continues to be all the more alluring across the ages.


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