Decor

Diffa's four-day event ran alongside the Architectural Digest Home Show. Attendees entered the Diffa section of the trade show floor by walking through a tunnel of exposed lightbulbs that hung overhead.

At Gensler and Herman Miller's vignette, the dining table was surrounded by walls covered in thousands of Hershey's Kisses wrapped in purple foil. Attendees were invited to take one as a symbol of the "many hands it takes to spark positive change."

As part of Diffa's Student Design Initiative, five of New York's top design schools created installations for the showcase, under the direction of industry mentors and within a strict budget. Students from the Pratt Institute, working with mentor Arpad Baksa, used Pegboard, twinkle lights, and individually placed test tubes to create a sparkling rendering of a world map.

As a nod to the walls at the Kinky Boots table, Romanoff stitched corset-like napkin holders.

Many designers had spring on the mind, with several environments dedicated to garden motifs. Rachel Laxer Interiors with Robert Kuo designed an ode to Rococo painter Jean-Honoré Fragonard with a mural of an 18th-century woman falling from a swing and a centerpiece of moody floral arrangements and fresh fruit.

Rachel Laxer Interiors' table settings included moss-covered chargers and—similar to the Kinky Boots table—corseted napkin holders.

The Eric Warner for Aesthete table, hosted by Tracy Reese, also jumped on the spring bandwagon, featuring faux butterflies and lightbulbs hanging from an overhead trellis, as well as a wall displaying patterned fabric panels and a silhouette made entirely out of moss.

Beacon Hill conceived a Midnight Garden vignette, which was hidden behind walls of boxwood shrubs draped in patterned fabric. The moody setting included an arrangement of twinkle lights, moss, orchids, and silk butterflies.

Aerin Lauder designed a table for Kravet that showcased her yet-to-be-released fabric collection for Lee Jofa, covering the table and surrounding walls in a purple damask-patterned linen. The table settings included rattan chargers and bamboo flatware.

Kenneth Cobonpue's table was enclosed inside a sort of wicker birdcage. At the center of the organic wooden table was a mound of moss topped with bowls that held live Betta fish; directly above was a chandelier composed of glass jars holding faux fireflies.

Echo Design’s table celebrated nature by encasing artfully arranged insects, butterflies, and shells inside a clear tabletop. Several of the company’s patterned scarves were backlit on the surrounding walls.

Another trend spotted on the Diffa floor: black-and-white stripes. The Architectural Digest table featured the striking pattern on the china, the surrounding columns, a giant paper lantern, and the table itself. A centerpiece of brightly hued anemones and poppies popped against the stark palette.

The New York School of Interior Design led by Marc Blackwell set up a table that paid tribute to the fight against AIDS with a table runner composed of hundreds of red ribbons.

A cute touch at Michael Amini's Old Hollywood-themed table: film canisters serving as chargers.

Titled "Dinner in the Boudoir de Madame," the installation created by Charlene Bank Keogh, Adeline Olmer, and Blane Charles was designed to look like the apartment of an eccentric socialite. Housed inside the base of one of the Lucite coffee tables were several pairs of red high heels.

Federico Delrosso for Corinthian Capital Group built a dining room inside a fabricated rooftop-style water tower. New York City rooftop views were projected onto the walls inside.

Resembling a canopy bed, Croscill's table was covered in a bright pink quilted tablecloth and surrounded by clear Chiavari chairs.

David Stark returned to create an installation for paint company Benjamin Moore. The entire room—from the floor to the chandeliers—was painted in a kaleidoscope of colors, and on the back wall, an LED screen looped a video montage of Stark's team designing the space from start to finish.

Orange was popular color choice this year. Marc Blackwell painted an entire wall in the hue, covering it with an eclectic collection of china. Nearby, a giant tree-stump table displayed a oversize drum shade lamp as a centerpiece, surrounded by orange and white tulips. A charming touch: porcelain birds at each place setting made chirping noises.

Vern Yip also went for orange with his design for Fabricut, which included an oversize, damask-patterned drum shade chandelier and a centerpiece composed of fabric flowers.

The table Frette designed for The New York Times was housed inside a black-and-white striped cabana. With rustic wood accents, fresh oranges, and arrangements of olive tree branches, the tabletop had a Tuscan countryside vibe.

The design from New York University students mentored by David Rockwell and Barry Richards was dubbed "Desconstructed Closet"; the table, chairs, and backdrop were all made using wire hangers.

Interior design firm EDG's offering was a collapsible, portable dining unit, designed to be used as a pop-up restaurant or alongside food trucks. The chandeliers were made from plastic straws, and the table centerpieces included frosted Mason jars holding votive candles.

At the Ralph Lauren Home table, vases filled with fluffy white ranunculuses echoed the oversize white paper lanterns glowing overhead. A slate waterfall backdrop flanked by palm tree trunks completed the tranquil scene.

Flexform & Dror's tribute to water conservation included chalkboard walls that had water factoids scrawled across them; at the center was a moving projection of a waterfall.

The table by Rottet Studio and Morgans Hotel Group displayed leather walls, exposed lightbulbs, and dishware that resembled curled-up book pages.

Working with Jes Gordon, students from the Fashion Institute of Technology composed a black, white, and gold look. Overhead, black-and-white portraits hung from a circular, glowing chandelier.

At Patrón's area, the walls were draped in sheer chiffon, and hanging tequila bottles held flickering votives.

Stefan Steilish composed an installation of individual tables separated by Lucite dividers. The idea behind the design was that people diagnosed with HIV/AIDS can feel isolated, but once that person looks beyond, he or she realizes that others are facing the same fears, and connection is possible.

At the Whitney Museum of American Art’s annual Art Party in New York, producers MKG hung black and white lanterns over the main bar.

At the Veuve Clicquot Polo Classic, a collection of six marigold chandeliers filled the V.I.P. tent ceiling, each standing eight feet high and made from thousands of strands of silk marigolds in the brand's recognizable yellow shade.

BrownHot Events partnered with Mille Fiori Floral Design to create an eight- by 20-foot paper flower backdrop for the V.I.P. tent bar.

At the welcome reception for the BIO International convention at the Boston Convention and Exposition Center in June, Kehoe Designs created various themed areas including a Japanese-inspired space, where the bar was covered in koi pond imagery and live greenery.