Event Inspiration

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."

Maya Romanoff and the Rockwell Group collaborated with the producers of Kinky Boots to create a dining environment that would celebrate the April 4 opening of the Broadway show. A chandelier of patent leather boots interspersed with red lightbulbs floated above the red tabletop, and the wall panels were designed to resemble laced-up corsets.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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 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.

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.

A phalanx of female model staffers dressed in out-of-this-world space-age uniforms greeted guests as they arrived at the suburban Houston venue in Sugar Land.

The cocktail portion of the evening featured a series of interconnected all-white rooms, which guests entered into via an octagonal-shaped tunnel. A 32-foot-long walkway led from the spaceship-cum-cocktail area to the dinner space, which was styled to look like the surface of the moon.

The all-white odyssey-style "capsule" was a veritable homage to Omega and the storied relationship it has had with the space program since 1965. A full array of the Swiss watchmaker's iconic Speedmaster timepieces, spanning several decades, were on display.

While the event featured no live entertainment or DJ, prerecorded voices did play overhead throughout the cocktail portion—mimicking astronaut flight calls with sayings like, "Welcome aboard. The outside temperature is minus…" Complementing the white-noise background was a smoke effect, which was used not only to recreate the moon landing atmosphere, but also to usher guests to the start of dinner.

Bureau Betak transformed the Western Airways Hangar into a spectacular 20,000-square-foot party setting—the Omega Lunar Base—that flowed from the "space capsule" into a dramatic moonscape, where dinner was served beneath a starlit orb.

Five truckloads' worth of gravel combined with large rocks comprised the setting in which some 300 invited guests dined. More than 150 workers were enlisted to create the set, which was designed to transport guests to dinner on the surface of the moon.

Guests dined above a custom floor covered with crushed rock and gravel that had been mixed with glitter to achieve a sparkle effect so as to add some pops of brightness to the otherwise all-black decor scheme.

Keeping on theme, the charger plates at each table setting featured the design of a moon.

To mimic the zero-gravity effect of dining on the moon, traditional floral centerpieces were eschewed in favor of levitating displays. That included Omega watches that appeared to float in air, oscillating on "moon rocks" under glass domes .

The M.C. of the night, Lily Koppel, author of The Astronaut Wives Club, welcomed Omega ambassador George Clooney to the stage, calling him the  “man on the moon.” The actor, who emerged from a cloud of white smoke and waxed poetic on the Apollo 13 mission, shared the stage with Omega president Stephen Urquhart and astronauts Gene Cernan, Captain Jim Lovell, and General Thomas Stafford.

Adding to the dinner's outer-space ambience was a massive video screen that showed planets moving across the sky, a space station floating by, meteor showers, and an astronaut drifting in space a la Clooney's film Gravity.

A Fare Extraordinaire provided the dinner, cocktails, and hors d'oeuvres, all of which featured a space-age theme, including the Tang-and-grapefruit-juice-infused vodka cocktail served in a Space Ration Hydropack.

The "On the Moon" dinner was prepared by Houston-based A Fare Extraordinaire under the eye of French chef Valentin Neraudeau, flown in from Paris for the occasion. The first meat course consisted of fresh king crab and Granny Smith green apple with thyme crisp, olive oil madeleine, carrot and cumin foam, and an extra virgin olive oil vinaigrette. Also on the menu was filet of veal with eggplant caviar and caramelized basil-infused jus, and dessert of white chocolate demi spheres with mixed berries.

London-based mixologist Justin Darnes prepared four specialty beverages, and the presentation of each was a twist on the night's space-age theme. For instance, the gin and Williams Pear cocktail was topped with a salted and spiced watermelon foam. Other libations included calvados, kirsh, and raspberry coulis, and, of course, a Clooney-branded Casamigos tequila old fashioned.

For a touch of whimsy, male staffers wore glowing ties, making them easy to spot. The visual also added to the night's otherworldly aesthetic.