Decor

Anthropologie's hot pink and red flowers popped against the rich blue walls and table runners.

Inspired by the Art Deco era, designer Antonino Buzzetta created a modern dining space for Michael C. Fina with a reflective gold wall covering and black lacquered chairs. "I wanted to create a space that was equally as elegant as it is seductive. The Art Deco era is the perfect culmination of my obsession with the fusion of gilded glamour and sublime luxury," Buzzetta said.

Michael C. Fina's look featured luxe black and gold settings on a glass tabletop.

A New Orleans garden dinner party, à la Midnight in the Garden of Good and Evil, was the theme of The New York Times dining space, designed by Robert Passal Interior and Architectural Design. The lush environment, which even included a mossy room spray, featured Passal's dinnerware collaboration with L'objet, along with Bradley Clifford's talon candlesticks and items from Bergdorf Goodman. The 250-year-old dining chairs were retrieved from an assembly hall in England.

The opulent look for the New York Design Center's area was designed by Marks & Frantz and featured floral dinnerware by Lenox, glassware by Michael Wainwright, and flatware by Nambe.

Visitors could go "backstage" with a vanity mirror, complete with makeup, at the New York Design Center's booth.

New York City-based design team Dransfield & Ross said the zany style inspiration for Sunbrella's tableau came from the 1967 film Casino Royale. Ornate couture chandeliers popped against the fabric company's graphic stripe patterns.

A colorful array of glassware and shag chairs completed the look of Sunbrella's dining space.

Smartwater's space aimed to reflect the brand's natural water purification process, which is mirrored after rain clouds. The fluffy fixtures lit up like a storm above the simple table setting.

The students from the New York School of Interior Design built a curved wall structure that mimicked a womb, protecting the diners inside the booth. The young designers said they wanted to "create a hug." The rest of the vignette was kept minimal in order to focus attention on the architectural element.

The area sponsored by Ralph Lauren Home highlighted the brand's paint collection with paint cans filled with colorful blooms as centerpieces, paint-dipped wooden stirrers as place cards, and drop cloths and paint swatches as wall decor.

Inspired by Marilyn Monroe, Manhattan magazine and Fendi Casa's booth featured a glamorous table with lots of reflected light and sparkly mesh-covered fixtures.

Swedish design company Bolon covered every inch of its space with tangerine-colored floor covering, creating a uniform, but expressive, dining area.

Stacy Garcia designed a modern floral fantasy with layers of wallpaper from the new Paper Muse Collection for York Wallcoverings.

Whimsical touches like glass snails on the table settings were featured in Stacy Garcia's garden-theme space.

Inspired by the Brutalist movement, in which concrete dominated, furnishings company Arteriors' dining vignette featured repeated geometric and abstract organic forms with rough textures and a dark palette.

Hermès celebrated nomadism with a Silk Road-inspired mural and vibrant jewel tones.

As part of its tablescape, Hermès debuted brand-new Ikat-patterned porcelain dinnerware.

Stephen Burks, the designer of Roche Bobois Paris's Traveler chair, also created the company's installation, which was based around his furniture. The chairs evoked a cozy camp-like feel, creating an outdoor pavilion indoors with a projected fire by Levy Lighting.

With a nod to the movie Garden State, actors dressed in Echo's new spring print were seated at the fabric company's dining table.

Echo's dining space was immersed in the brand's Heirloom India collection of wallpapers and fabrics.

Venetian masks were created for guests at the dining event, while printed prop masks were available for the general audience to snap selfies. The designer "wanted to create an art installation where not only the people [in the installation] were lost in print, but also the audience could get lost in print."

Designed by world-renowned artist Hunt Slonem, Kravet Inc.'s vignette featured bright paintings of exotic animals and tropical plant life.

Kravet Inc.'s second vignette included tableware with bold sketches of rabbits.

Interior designer Marc Blackwell created a vignette with the message, "Compassion Begets Art," in honor of Diffa's mission. The dining table included structural curved chairs with woven fabric in different colors.

Event planner and Architectural Digest special projects editor Bronson van Wyck created a party tent to celebrate the first days of spring for the magazine's booth.

Gensler and 3form brought the outdoors in with Astroturf as a floor covering, white wire chairs, and vivid blue tableware. Images of a modern house served as the backdrop.

Inspired by Rio de Janeiro, designer Corey Damen Jenkins created a dining space for Beacon Hill with sophisticated and bohemian elements, including a mix of luxe dining chairs and a colorful mosaic textile for the tabletop.

Inspired by the ceramics of South African artist Ruan Hoffmann and murals by Rebecca Rebouche, interior designer Alexis Givens created a moonlight feast setting for Anthropologie with a ceiling covering made from bright blue-painted recycled plastic bottles.

Originally set designers, Lydia Marks and Lisa Frantz looked to their favorite period—1940s Hollywood glamour—for inspiration in creating the New York Design Center's vignette. A black-and-white forced perspective image served as the backdrop, while a large chandelier by Arteriors illuminated the space. Bright peacocks by Global Views hung out in the corner.

The AIPAC Coffee House was designed to evoke a street café in Israel where attendees could get coffee or a light snack. The wood and antique tile flooring were actually designs that Hargrove printed onto vinyl and applied to flex flooring to give the look of luxe materials without the cost.

Another lounge had an olive grove theme. To mimic the look of live olive trees, Hargrove created café tables with stainless steel trees sprouting from them. The trees were topped with translucent lampshades printed with an olive tree pattern. Contemporary furnishings and bright accents rounded out the look.

One lounge was designed with a heavily residential style, from comfortable couches with a variety of accent pillows to shelves decorated with vases and other accent pieces. The living-room-like space still had a strong messaging component to drive home the conference's objectives.

A lounge with a political theme included graphic representations of several Washington monuments rendered in a look inspired by artist Shepard Fairey’s iconic “Hope” poster for President Obama's 2008 campaign. AIPAC liked the look so much, staff adopted it as branding for a print campaign.

Decor elements such as metal screens with a Star of David pattern and a historical mosaic of old Jerusalem broken up into panels kept a lounge for donors on-theme yet sophisticated.

A space designed for small meetings had furniture arranged in groups for two or four people to facilitate intimate conversations. Carpet inserts in a contrasting pattern added to the custom look for the space.

A sleek blue-and-white lounge effectively used the colors of Israel’s flag.

This year marked the first time the conference could use space in the newly opened Marriott Marquis Washington, DC. The hotel, which is connected to the convention center, allowed planners to significantly increase meeting and function space.

The staging stayed the same for events held in a convention center ballroom, but the seating expanded and contracted depending on the size of an event, from a lunch for 2,800 guests to a breakfast for 500.

To accommodate the massive general session audience—which is set up for 15,000 people theater-style—Viva Creative wrapped the perimeter with screens.

The Village Marketplace, which served kosher meals to the delegates, was designed in style of an Israeli shuk marketplace. Creating a smooth flow as the delegates moved through the space was an essential part of the design.

The Emerald City ball had an Oz theme, with decor pieces in the form of oversize green gems hanging overhead.

Metallic table linens and Chameleon chairs added sparkle to the opulent look of the Emerald City ball fund-raiser.

An ice sculpture added to the Emerald City ball's sense of whimsy.

Vogue Eyewear's Los Angeles launch party for its campaign with Eva Mendes in 2013 had a playful feel throughout. A step-and-repeat wall made up of logo balloons arranged in a rainbow grid set the sunny, colorful tone for the alfresco affair.

A step-and-repeat with the Mariano's logo was gussied up with a red carpet and a slew of hanging disco balls.