Whether printing a bespoke design or replicating the effects of vintage rolls, metallic wallpaper is a great and modern solution for creating walls that shine.
Whether you're looking to restore a historic space or breathe new life into a timeless design, our unique printing process adds a dynamic appeal to all types of spaces and lighting conditions.
Give your wallpaper decor the platinum treatment - highlight decorative areas of your design to shine with authentic brilliance. The creative possibilities are limitless.
Yes we can match your wall paint! Send us the sample or chip number of the color you desire from Benjamin Moore, Sherwin Williams or Pantone and we will spot match it with our full color printing facilities.
Take the guesswork out of your project. Send us your artwork or a sample to replicate and you can order a small press proof for review before placing your order.
Traditional wallpapers tend to use metallic inks. Our shop uses metallic rolls as a printable base. The authenticity and durability of the metallic effect is quite pronounced and dramatic, especially when paired with hi definition printing.
A layer of solid white ink is printed as a base, or "primer". The ink is UV sensitive and instantly cured by a lamp mounted on the press, preparing the roll for full color printing.
CMYK inks are then printed on top of this on top of the white ink, providing a wide spectrum of vivid colors which are heightened and accented by the surrounding shine of the roll itself.
"Seeking a unique touch for my contemporary home, I turned to Fine Print to create a custom metallic wallpaper design. Their team's creativity and attention to detail resulted in a stunning masterpiece that seamlessly blends modern aesthetics with a touch of metallic elegance. The metallic elements added a luxurious depth to my space, elevating the ambiance to a whole new level. Their expertise transformed my walls into works of art."
Isabella Cruz from Miami, FL
"Longing to bring a touch of sophistication to my living room, I entrusted Fine Print to recreate a discontinued metallic wallpaper design in silver tones. Their meticulous approach and dedication to authenticity shone through in every shimmering detail. The silver accents now dance across my walls, casting a mesmerizing glow that captivates all who enter."
Oliver Thompson from Portland, OR
"Discovering a vintage pearl wallpaper design that spoke to my soul, I sought out Fine Print to recreate its timeless elegance. Their expertise in metallic printing brought this delicate pattern back to life with a modern twist. The subtle pearl accents now grace my walls, infusing them with a contemporary flair has truly transformed my space into a haven of elegance and charm."
Evelyn Harper from New Orleans, LA
"Recreating a cherished metallic wallpaper from my childhood home was a sentimental journey made seamless by Fine Print. Their ability to capture the essence of the original gold tones and intricate patterns was nothing short of magical. The golden glow now radiates through my space, evoking memories of days gone by while infusing a touch of nostalgia into my modern decor."
Lucas Rodriguez from Los Angeles, CA
Our advanced printing techniques and premium materials ensure that the colors and the metallic finish remain vibrant. We use state-of-the-art inks that are UV-cured, providing excellent adhesion and resistance to fading or peeling.
THe traditional method prints metallic inks along with CMYK. Our process instead prints a layer of white and CMYK colors on a metallic surface.
Metallic inks come in a wider variety of colors and can also be applied to embossed (raised) prints. They are also more costly to produce. By contrast printing on metallic wallcoverings does limit colors and can only offer flat metallic surfaces, but is decidedly more budget friendly.
We offer Gold Flash, Silver Flash, Black Flash, Silver Odyssey, Satara Pearl, Bling, Rave and Deja Vu
We can print colors on top of the metallic without the underlying white layer to tint it, but generally speaking, anypkace the ink is not printed, the basic color of the wallpaper will shine through and this cannot be modified.
As long as the original does not feature embossed (raised) metallic textures, it is very likely that we can reproduce it. Please send your photos to inquiries@fineprintnyc.com for evaluation and an estimate of reproduction cost.
Our state of the art press can print at 1000dpi, replicating the finest of details. Even a human hair or stray pencil line can be printed with stunning and life-like clarity.
We are printers and designers whose focus is exclusivle on producing and replicating wallpaper. By not involving ourselves in the installation process we allow a higher level of focus and quality control on our work, whose authenticity is often mission critical. That said, our wallcovering are wholly compatible with standard installation practices known to most contractors and we do offer preparation guides and schematics to aid in the planning and execution of your install.
The same way you design any wallpaper. The difference is that any piece of the design which is left blank, is where the metallic material will shine through. You can also print colors directly on top of the metallics for a unique tinting effect. YOu also have the option for printing purely white shapes, or color on top of white to make them far more vivid and opaque.
A Chronological Deep-Dive from the 1500s to the Present
Throughout the history of interior design, few decorative elements have captured the human imagination quite like metallic wallpaper. From its early roots in Renaissance gilding techniques to its modern, digitally printed incarnations, metallic wallpaper has been a symbol of luxury, creativity, and technological ingenuity. Below is an extensively detailed exploration of this shimmering medium, beginning with gilded walls in 16th-century Europe and culminating in our contemporary age of eco-friendly solutions, digital printing innovations, and interactive, technology-driven surfaces.
In the early 16th century, opulent design was inextricably linked to wealth, power, and aristocratic status. Families who could afford elaborate décor—particularly in affluent European courts—often turned to precious metals as a means of showcasing their elevated position. While true “wallpaper” was still in its infancy, gilded surfaces were indeed emerging. Skilled artisans painstakingly applied real gold or silver leaf onto fabric or paper backings, creating mesmerizing surfaces that reflected light in a way no paint could match.
Technique: Artisans would start by smoothing the base (paper, vellum, or fabric) to remove all irregularities. Then, they used adhesives such as rabbit-skin glue or gelatin-based mixtures. After carefully laying the metal leaf, they burnished it with polished stones or specialized tools to achieve an even, radiant gleam.
Cultural Significance: This was a time when gilded décor indicated not just taste but social rank. It was extravagant—and intentionally so. Patrons wanted their halls and chambers to project splendor, while also reflecting the era’s artistic predilection for grandeur and ornamentation.
As the century progressed, demand for metallic aesthetics spread from royal courts to the upper echelons of the merchant class. Traditional gilding remained extremely costly and labor-intensive, prompting experimentation with alternate methods:
Hammered Metal Tiles: Thin sheets of copper, brass, or tin were gently beaten into patterns, then affixed to walls. The three-dimensional effect of hammered metal accentuated candlelight, producing a dramatic interplay of shadows and reflections.
Leather Wall Hangings: Artisans embossed or tooled high-quality leather hides, adorning them with gold or silver leaf. These surfaces were durable, rich in texture, and easier to transport compared to more delicate gilded paper. The metallic highlights on leather also provided a sumptuous “tactile opulence,” bridging the gap between furniture and tapestry.
Middle Eastern Influences: European craftspeople also drew inspiration from the hammered metalwork traditions of the Middle East, particularly the Ottoman Empire. Techniques for chasing, repoussé, and filigree found their way into European decorative metal panels, introducing new motifs and patterns.
By the end of the 16th century, metallic-decorated surfaces were solidly entrenched as hallmarks of opulence, hinting at the more elaborate styles yet to come in the Baroque and Rococo epochs.
Baroque art, originating in early 17th-century Italy, revolutionized architecture, painting, sculpture, and of course, interior design. Driven by the Catholic Church’s desire for emotional engagement, Baroque aesthetics emphasized grandeur, drama, and highly ornate details.
Intensifying Metallic Embellishments: With the Baroque style, metallic decorative elements took center stage. European palaces—particularly in France and Italy—commissioned wallpapers (though still less common than textile or leather hangings) adorned with swirling scrollwork, cherubs, and elaborate floral motifs. Whenever possible, these motifs were lined or highlighted with gold and silver leaf, intensifying the dramatic interplay of light.
Hall of Mirrors, Palace of Versailles (1684): A shining example of Baroque’s embrace of gilded surfaces is the Hall of Mirrors at Versailles. While technically not “wallpaper,” its mirrored and gilded surfaces epitomize the era’s taste for reflective opulence. In adjacent chambers, intricate gilded wallpapers complemented the luminous environment, further magnifying the sense of awe.
Flocking—a technique in which small textile fibers (often wool or silk) are applied to a glue-coated surface—had existed earlier, but it gained renewed traction in the Baroque period for adding a velvety texture to designs. When combined with metallic elements:
Contrasting Surfaces: The plush flocking absorbed light, whereas the metallic background or accents reflected it, yielding a dynamic visual effect that elevated the space’s grandeur.
The Exclusivity Factor: Due to the cost of materials and labor, flocked metallic wallpapers remained a plaything of the nobility. The Baroque fascination with lavish displays ensured these specialized wallcoverings remained must-have items in palace ballrooms and private salons.
By the early 18th century, the Rococo style emerged in France, championed by designers who favored light, playful aesthetics over the darker intensity of Baroque. Rococo was known for:
Pastel Palettes & Delicate Motifs: Silver and gold leaf still played central roles, but were often paired with pastel blues, pinks, and creams. Floral garlands, shells (the “rocaille” motif that gave Rococo its name), and whimsical cherubs appeared frequently.
Amalienburg’s Mirror Room: A famous Rococo example is the Amalienburg hunting lodge in Bavaria. Its Mirror Room features silver-gilt wallpaper that accentuates ornate floral designs. This “silvering” approach provided a gentler, more ethereal glow compared to the heavy gold of the Baroque.
Scheele’s Green (1780): The vibrant green pigment containing copper arsenite introduced a new color option for wallpaper designers—often used in combination with gold or silver details. Unfortunately, its toxic arsenic content would eventually lead to health issues, giving “poisonous wallpapers” a notorious reputation in 19th-century Europe.
Oberkampf’s Factory (1785): Christophe-Philippe Oberkampf, based in Jouy-en-Josas, pioneered mechanized printing for patterned wallpapers. While metallic details still generally needed hand application, mechanical printing of bases and designs enabled faster, cheaper production—paving the way for metallic wallpaper to slowly trickle down from palace to affluent bourgeois households.
Continuous Paper Production Patent (1799): Louis-Nicolas Robert’s invention allowed paper to be manufactured in continuous rolls rather than sheets. The resulting speed, efficiency, and uniformity set the stage for the next century’s wallpaper boom, including metallic variants.
The 19th century ushered in a wave of industrial progress, with steam engines powering large-scale printing operations. For metallic wallpaper this meant:
Division of Labor: Factories could produce intricate, repeated motifs rapidly using cylinder presses. Metallic leaf application might still be partially hand-finished, but the base design was now cheap and quick to create, lowering overall costs.
Embossed Metallic Papers: Roller embossing created raised designs. When gilded or lightly rubbed with metallic powders, these embossed patterns achieved a striking interplay of light and shadow. Middle-class consumers, newly enriched by the Industrial Revolution, clamored for these “luxury” looks at a fraction of their former cost.
Steam-powered machines thundered to life in the mills of Lancashire, England, forever changing the landscape of wallpaper production. In these coal-lit factories, with their gleaming brass fittings and tireless engines, artisans witnessed their hand-crafted traditions merge with industrial might. The result was a democratization of luxury – flock wallpaper, once reserved for palace walls, could now grace the homes of ambitious merchants and industrialists.
In the historic region of Alsace, the Zuber factory unveiled a groundbreaking technique that would redefine metallic wallpaper production. Their master craftsmen perfected a method of layering multiple levels of flocking with precisely applied metallic powders, creating an unprecedented depth that caught and held the eye. These papers, with their rich textures and luminous surfaces, soon adorned the finest homes from Paris to New York.
Queen Victoria’s ascension to the British throne marked the beginning of an era obsessed with ornate decoration. The young queen’s taste for luxurious interiors sparked a renaissance in wallpaper design. Manufacturers rushed to create patterns that combined the traditional elegance of flocking with bold metallic accents, satisfying the Victorian appetite for opulent display.
The workshops of Paris and Lyon, determined not to be outdone by their British competitors, began pushing the boundaries of design. French artisans developed new patterns that married Gothic revival architecture with Romantic artistic sensibilities. Their innovative use of copper and gold accents, set against deep crimsons and emerald greens, created papers that seemed to capture the very essence of French sophistication.
The introduction of steam-powered embossing machines brought another dimension to wallpaper production. These mechanical marvels could create deep, precise reliefs with consistent quality – something that had previously required countless hours of skilled hand-labor. When combined with metallic elements and flocking, these embossed patterns transformed flat walls into captivating landscapes of texture and light.
By the decade’s end, the finest European wallpapers were making their way across the Atlantic in unprecedented quantities. America’s newly wealthy industrialists, eager to display their success, developed a particular fondness for papers that combined flocking with metallic highlights. The grand mansions rising along Fifth Avenue and Beacon Hill became showcases for the most sophisticated European designs, their walls gleaming with gold and silver accents that caught the light of gas chandeliers.
In 1856, William Henry Perkin was just 18 years old and working as a research assistant at the Royal College of Chemistry in London. At the time, malaria was a devastating disease, and scientists were trying to find ways to synthesize quinine, the only known treatment, which was expensive and difficult to obtain as it had to be extracted from cinchona tree bark.
Perkin was attempting to synthesize quinine from coal tar derivatives, specifically working with aniline, a compound found in coal tar. During one of his experiments, instead of producing the clear crystals he expected, he ended up with a mysterious purple residue. Most scientists would have discarded this failed experiment, but Perkin’s curiosity led him to investigate further. When he tried to wash away the residue with alcohol, he noticed it created a striking purple solution.
What made this discovery particularly significant was that the purple dye was both vivid and colorfast – meaning it wouldn’t fade or wash out easily. This was revolutionary because, at the time, purple dyes were extremely expensive and typically made from natural sources like the mucus of sea snails (Tyrian purple). A naturally-derived pound of purple dye could cost more than its weight in gold.
Mauveine was the world’s first synthetic organic dye, and its discovery marked the beginning of the modern chemical industry. It showed that complex organic compounds could be synthesized artificially, opening up new possibilities in chemistry. This led to the development of many other synthetic dyes, and eventually to advances in fields as diverse as medicine, photography, and plastics.
Broader Palette: Suddenly, intense purples, magentas, and other vibrant hues became achievable at scale, providing an exciting background for metallic ornamentation.
Improved Lightfastness: Aniline dyes were more durable and less prone to fading, synergizing perfectly with metallic accents that retained their luster. As a result, the final product looked fresh for longer.
The streets of London buzzed with a new artistic energy as the Aesthetic Movement emerged from the city’s intellectual circles. In smoke-filled salons and ornate drawing rooms, artists and philosophers debated a radical idea: that beauty alone could justify art’s existence. This philosophy would revolutionize how Victorians thought about interior decoration, particularly in their use of metallic wallpapers.
The arrival of the first major Japanese art exhibition at the South Kensington Museum (now the Victoria and Albert) sent shockwaves through London’s design community. E.W. Godwin, transfixed by the elegant simplicity of Japanese art, began incorporating these influences into his wallpaper designs. His revolutionary patterns featured delicate bamboo stems and soaring cranes rendered in subtle gold leaf, creating an exotic atmosphere that captured the Victorian imagination.
Oscar Wilde burst onto London’s social scene, his flamboyant personality and razor-sharp wit making him the movement’s most charismatic spokesman. From his famous declaration that “one should either be a work of art, or wear a work of art,” Wilde’s influence transformed how the wealthy thought about their homes. His lectures on the “House Beautiful” encouraged a more sophisticated use of metallic wallpapers, where gold and silver accents served as highlights rather than overwhelming statements.
William Morris, already established as a master of textile design, opened his influential firm Morris & Co. Unlike his contemporaries, Morris harbored deep reservations about the ostentatious use of metallic finishes. His philosophy emphasized natural beauty and authentic craftsmanship, leading to a dramatic shift in wallpaper design. The company’s patterns featured intricate botanical motifs where metallic elements, when used at all, appeared as whispered accents rather than bold statements.
Morris’s own home, the Red House, became a showcase for a new approach to interior design. Its walls demonstrated how metallic accents could enhance rather than dominate natural patterns. Visiting artists and designers left inspired, carrying these ideas to workshops across England. The result was a new generation of wallpapers that balanced traditional luxury with artistic restraint.
The Arts & Crafts Exhibition Society held its first showcase, marking the movement’s formal emergence. Here, a new aesthetic took shape: wallpapers that honored traditional craftsmanship while embracing modern sensibilities. Metallic elements appeared in unprecedented ways – gossamer-thin lines of silver tracing leaf patterns, tiny dots of gold illuminating forest scenes, all applied with exquisite attention to detail.
By decade’s end, the combined influence of the Aesthetic and Arts & Crafts movements had transformed metallic wallpaper design. The gaudy excesses of earlier Victorian style gave way to more sophisticated applications. In London’s fashionable neighborhoods, one could now find drawing rooms where gold and silver elements played subtle supporting roles in larger artistic compositions, creating spaces that balanced luxury with intellectual refinement.
The 1900 Paris Exposition Universelle marked a critical turning point for metallic wallpaper. Here, for the first time, the public witnessed Art Nouveau’s full flowering in interior design. The exhibition’s iconic Pavilion of Decorative Arts showcased revolutionary wallpapers by artists like Eugène Grasset, whose gold-traced patterns of intertwined lilies and vines won the exposition’s Grand Prix. This international platform legitimized Art Nouveau’s organic approach to metallic decoration, setting the style for the decade to come.
In January 1901, the celebrated French designer René Lalique filed three pivotal patents for new metallic application techniques in decorative arts. His methods, quickly adopted by wallpaper manufacturers, allowed for unprecedented delicacy in metallic details. The Maison Lalique’s first wallpaper collection, launched in March of that year, demonstrated how silver and gold elements could be integrated into patterns so fine they resembled frost on window panes.
Following William Morris’s death in 1896, Morris & Co’s new director J.H. Dearle launched the company’s first Art Nouveau collection in spring 1903. These designs marked a dramatic departure from Morris’s earlier restraint with metallics. The “Golden Lily” pattern, introduced that May, became their bestseller, featuring sinuous lily stems traced in gold leaf against deep indigo backgrounds. This evolution showed how even the most traditional firms were embracing the new aesthetic.
Victor Horta completed his revolutionary renovation of the Hôtel Tassel in Brussels in early 1905, introducing a seamless fusion of architecture and decorative surfaces. The building’s famous staircase, completed in March, featured walls where metallic elements flowed organically from the architectural structure into the wallcoverings. This integration of structure and surface decoration set a new standard for interior design, influencing wallpaper manufacturers across Europe.
On September 15, 1907, the Prelle silk manufactory in Lyon unveiled a groundbreaking screen-printing technique for metallic pigments. This innovation, developed over two years of experimentation, allowed for the mass production of incredibly detailed metallic patterns. Within months, their first collection showcased dragonflies with wings that appeared to shimmer in changing light, achieved through precisely layered applications of silver and gold.
The economic panic of 1907 unexpectedly democratized Art Nouveau metallic wallpapers in America. As European manufacturers sought new markets, firms like M.H. Birge & Sons in Buffalo, New York began importing and adapting European designs. Their October 1908 catalog introduced more affordable versions of French Art Nouveau patterns, making metallic wallpapers accessible to middle-class American homes for the first time.
By 1910, the culmination of a decade’s technical innovations was displayed at the Brussels International Exhibition. Here, Zuber & Cie presented their masterpiece “Le Jardin des Papillons” (The Butterfly Garden) in April, featuring unprecedented seven-layer printing with four different metallic finishes. This design, which took three years to perfect, represented the pinnacle of Art Nouveau metallic wallpaper technique, combining naturalistic motifs with revolutionary printing methods.
The discovery of King Tutankhamun’s tomb in November 1922 catalyzed a design revolution. Egyptian motifs, with their bold geometric patterns and metallic elements, suddenly dominated wallpaper design. Manufacturers like Sanderson & Sons launched their “Pharaoh’s Gold” collection in December, featuring angular patterns in gold and silver that would define the early Art Deco aesthetic.
The “Exposition Internationale des Arts Décoratifs et Industriels Modernes” opened in Paris on April 28, 1925 – the event that gave Art Deco its name. Here, the Primavera design studio unveiled their groundbreaking “Metropolitan” wallpaper collection. These papers featured unprecedented combinations of aluminum leaf and gold foil in geometric sunburst patterns, capturing the exhibition’s theme of modernity and luxury. Within months, this style would transform interior design across Europe and America.
On March 15, 1927, Paramount Pictures opened their flagship theater in Times Square. The interior walls showcased a revolutionary application of metallic wallpaper – zigzag patterns in silver and bronze that appeared to move under the theater’s innovative lighting system. This installation proved that metallic wallpapers could create dynamic, immersive environments. By year’s end, theater architects across America were incorporating similar designs.
In September 1928, the American Wallpaper Manufacturers’ Association hosted their first “Modern Industrial Art” exhibition in Chicago. Here, manufacturers debuted wallpapers that celebrated the machine age, featuring stylized gears, wheels, and industrial motifs rendered in chrome-like metallic finishes. These designs marked a decisive break from the natural patterns of previous decades, embracing technology as a source of beauty.
The Chrysler Building’s completion in May 1930 marked Art Deco’s architectural pinnacle. Edward Trumbull’s spectacular lobby mural incorporated actual metal leaf into its surface, creating a seamless blend of painting and metallic wallcovering. The building’s interior designers, led by William van Alen, developed custom wallpapers that echoed the mural’s industrial themes, using silver and platinum finishes to create an unprecedented sense of unity between walls and architecture.
Not to be outdone, the Empire State Building opened in May 1931 with its own innovations in metallic wall treatments. The lobby featured aluminum-leafed wallcoverings that created the illusion of metal panels – a technique that would influence commercial interior design for decades. The building’s architects commissioned special “skyscraper pattern” papers that used graduated metallic elements to enhance the sense of height in corridors and public spaces.
The economic realities of the Great Depression forced innovation in metallic wallpaper production. In March 1933, Imperial Paper and Color Corporation patented a new process for creating metallic effects using aluminum powder rather than precious metal leafing. This technology made Art Deco’s signature metallic look accessible to middle-class homes while maintaining the style’s sophisticated appearance.
By 1935, Art Deco had evolved into its streamline phase. The autumn collection from United Wallpaper Company showcased this transition, featuring patterns that combined curved and angular elements in sophisticated silver and gold combinations. These designs, influenced by streamlined industrial products, represented the mature phase of Art Deco metallic wallpaper, where geometry and luxury achieved perfect balance.
On August 6, 1945, the atomic age began with Hiroshima. By December, this watershed moment had already influenced American design. The Martin-Senour Paint Company launched their “Atomic Line” of metallic wallpapers, featuring abstract patterns of electrons orbiting nuclei in silver and gold. These designs marked the beginning of science-inspired interior decoration, transforming public anxiety about atomic power into aesthetic celebration.
The Roswell incident in July 1947 sparked a national obsession with space and extraterrestrial life. Wallpaper manufacturers quickly responded – in October, Imperial Wallcoverings debuted their “Cosmic Collection,” featuring metallic patterns of flying saucers, stars, and planetary orbits. The papers used a revolutionary aluminum-based ink that created an otherworldly sheen, perfectly capturing the public’s space-age fantasies.
The Festival of Britain opened in May 1951, showcasing the “Contemporary Style” that would define the decade. The Homes and Gardens Pavilion featured metallic wallpapers by designer Lucienne Day, whose “Atomic” pattern – abstract molecular structures in silver against jewel-toned backgrounds – became an instant sensation. Within months, similar designs appeared in fashionable homes across Europe and America.
DuPont’s introduction of Mylar in 1954 transformed metallic wallpaper production. By September, United Wallpaper had developed a process for laminating Mylar films onto paper backing, creating surfaces with an unprecedented metallic brilliance. Their “Tomorrow’s Walls Today” collection featured patterns that seemed to glow from within, establishing a new standard for futuristic interior design.
The October 1957 launch of Sputnik 1 sent shockwaves through the design world. By December, Schumacher & Co. had released their “Space Race” collection, featuring metallic patterns of satellites, celestial bodies, and abstract radiowave patterns. The papers used a combination of silver foil and phosphorescent inks that literally glowed in the dark, bringing the space age into American homes.
In January 1959, Richard Nixon and Nikita Khrushchev’s famous “Kitchen Debate” highlighted American domestic innovation. Responding to this cultural moment, Armstrong Cork Company introduced their “Easiclean” metallic wallpapers. These papers featured atomic and molecular patterns in washable metallic finishes, merging scientific imagery with practical post-war convenience.
Eero Saarinen’s TWA Flight Center opened at JFK Airport in May 1962, representing the culmination of Atomic Age design. The terminal’s sweeping surfaces featured custom metallic wallcoverings that transformed from silver to gold depending on viewing angle. The cocktail lounge’s famous “Constellation” wallpaper, with its swirling galaxies in platinum and copper, became the most photographed interior surface of the year.
On February 25, 1965, Time Magazine’s cover story on Op Art triggered a design revolution. Within months, the Sanderson company launched their “Optical” collection, featuring metallic wallpapers that created mind-bending visual effects. Using DuPont’s revolutionary Mylar backing, these papers incorporated shifting geometric patterns in silver and gold that appeared to move as viewers walked past – a perfect match for the emerging psychedelic culture.
During San Francisco’s legendary Summer of Love, designer Verner Panton unveiled his groundbreaking “Visiona” installation in August. The showcase featured metallic flock wallpapers that combined traditional velvet textures with holographic foil backgrounds. These papers created immersive environments that seemed to pulse and flow, especially under the era’s popular black lights. By year’s end, similar designs were appearing in boutiques and nightclubs from London to Tokyo.
The Woodstock Festival in August 1969 crystallized the counterculture aesthetic. In response, Imperial Wallcoverings introduced their “Peace & Love” collection in October, featuring metallic grasscloth papers that married natural fibers with iridescent overlays. These wallcoverings used jute and sisal threads actually dipped in liquid metal solutions – a technical innovation that created an unprecedented fusion of organic and metallic elements.
April 1971 marked a turning point when New York’s first major disco, Le Jardin, opened its doors. Its interior designer, Angelo Donghia, revolutionized nightclub aesthetics with his “Cosmic Grasscloth” wallcoverings. These papers featured metallic-dipped natural fibers arranged in mandala patterns that created kaleidoscopic effects under rotating lights. The style would later reach its apex at Studio 54, inspiring a generation of interior designers.
The 1974 oil crisis sparked renewed interest in environmental consciousness. Responding to this cultural shift, Collins & Aikman introduced their “EarthShine” collection in September. These innovative papers combined recycled natural fibers with aluminum and copper overlays, creating an eco-friendly alternative to traditional metallic wallcoverings. The technique involved pressing metal foils onto sustainable grasscloth bases, proving that environmental responsibility could coexist with glamorous design.
America’s Bicentennial celebration inspired a wave of design innovation. In March, Boris Kroll Fabrics launched their “Heritage Metals” collection, which combined traditional American craft techniques with modern metallic elements. These papers featured hand-woven grasscloth bases overlaid with intricate patterns in gold and silver, created using a revolutionary electroplating process that ensured durability while maintaining the natural texture beneath.
As the disco era peaked, designer Pierre Paulin created his final collection for Züber, “Night Fever,” in January 1979. These papers represented the ultimate fusion of psychedelic and metallic elements – holographic foils combined with flocked patterns that changed color under different types of light. The collection’s standout design, “Dancing Queen,” featured a metallic rainbow effect achieved through a groundbreaking seven-layer printing process.
In September 1981, the Memphis Group stormed Milan’s Salone del Mobile with their radical vision. Ettore Sottsass’s “Bacterio” pattern, featuring metallic squiggles that seemed to dance across surfaces, became the template for a new wallpaper aesthetic. Within months, manufacturers like Osborne & Little had launched collections featuring gold and silver geometric shapes scattered across bold, contrasting backgrounds – a deliberate rejection of modernist restraint.
When Apple launched the Lisa computer in January 1983, its sleek design influenced more than just technology. Marburg Wallcoverings responded with their “Digital Dreams” collection, featuring metallic patterns that mimicked computer circuits and pixel art. Using newly developed screen-printing techniques, they could layer metallic inks to create an unprecedented depth of pattern, making walls appear to contain entire electronic worlds.
Portuguese designer Maria Helena Amorim transformed the industry in March 1985 with her patented process for metallic cork wallcovering. Her technique involved pressing micro-thin cork sheets onto metallic foil backing, creating a material that combined organic warmth with disco-era shine. The Morgan Hotel in New York became the first to feature these papers, setting a trend that would define boutique hotel design for years to come.
MTV’s distinctive visual style reached its peak influence in 1987, inspiring Brewster Wallcovering’s revolutionary “Video Age” collection. Launched in August, these papers featured metallic elements that seemed to float above the surface, achieved through a groundbreaking 12-layer screen-printing process. The patterns incorporated random metallic “glitches” and deliberately misaligned elements, embracing the aesthetic of video interference.
In January 1991, the Japanese firm Nippon Sheet Glass unveiled a new metallic ink technology that would transform wallpaper production. Their “MicroFlake” pigments could be precisely controlled during screen printing, allowing for gradients and subtle effects previously impossible to achieve. This innovation enabled manufacturers to create papers that shifted color depending on viewing angle – a technique quickly adopted by high-end designers.
The launch of the World Wide Web inspired Graham & Brown’s “CyberWall” collection in March 1995. These papers featured metallic patterns based on early website designs and desktop interfaces. Using new water-based metallic inks, they created wallpapers that mimicked the glow of computer screens while maintaining environmental friendliness – a growing concern in the industry.
As the world prepared for Y2K, metallic wallpaper reached new heights of technical sophistication. In June 1999, Walker Greenbank introduced their “Future Perfect” collection, featuring papers that combined traditional screen printing with holographic elements. Their breakthrough “ChromaShift” technology allowed for patterns that changed completely under different lighting conditions – a fitting finale to a decade of innovation.
As the Y2K panic subsided, Mimaki unveiled their groundbreaking JV3-160SP printer at the FESPA exhibition in Madrid. This machine introduced the world’s first digitally-controlled metallic particle deposition system, marking the moment when centuries-old gilding techniques finally met modern precision. Within months, the luxury wallpaper market would never be the same – designers could now achieve effects that medieval artisans could only dream of.
February 2002 marked a watershed moment when HP launched their Indigo Digital Press with ElectroInk technology at the Graphics of the Americas show. This innovation allowed for the first time the precise layering of metallic particles at microscopic levels. The process mimicked the delicate hand-application techniques of the past but achieved consistency that human artisans could never match. The first collection produced on these machines, “Digital Heritage” by Graham & Brown, sold out within weeks.
Roland’s introduction of the AdvancedJET AJ-1000 in March 2004 brought another quantum leap. Their patented Variable Droplet Technology could control metallic particle size down to the micron, creating subtle gradients that seemed to flow like liquid metal across surfaces. The machine’s debut at the International Contemporary Furniture Fair in New York caused such a sensation that orders backed up for months.
In June 2006, 3M unveiled their Dichroic Film technology at NeoCon in Chicago. This innovative substrate could change color depending on viewing angle, even before any printing occurred. When combined with digital metallic printing, it created effects so complex they seemed almost holographic. The W Hotel chain immediately commissioned exclusive wallpapers using this technology, setting new standards for luxury hospitality design.
Adobe’s release of Creative Suite 3 in March 2007 included the first color management system specifically calibrated for metallic inks. This solved the longstanding problem of metallic effects appearing different on screen versus in print. Designer Tom Dixon used this technology to create his “Digital Alchemy” collection, where each pattern was first perfected virtually before being printed – a process that would have been impossible just months earlier.
September 2009 saw the launch of Graham & Brown’s “YouWall” platform – the first online system allowing customers to customize metallic wallpaper patterns in real-time. Using sophisticated rendering engines developed for video games, the platform could accurately preview how metallic elements would interact with room lighting. This democratization of design marked the end of the traditional sample book era.
In March 2010, researchers at the University of Cambridge’s Department of Chemistry unveiled a revolutionary discovery. Led by Dr. Silvia Vignolini, the team successfully replicated metallic iridescence using cellulose nanocrystals – the same material found in ordinary paper. This breakthrough marked the first time scientists could create metallic effects without using actual metal, opening the door to truly sustainable luxury wallcoverings.
In September 2011, Belgium’s Sioen Industries introduced “AquaMetal” – the first completely water-based metallic ink system for wallpaper production. This innovation eliminated the toxic volatile organic compounds (VOCs) that had plagued metallic wallpaper manufacturing for decades. The technology won the European Environmental Innovation Award and transformed industry standards virtually overnight.
July 2013 saw the largest wallpaper manufacturers collectively pledge to use only FSC-certified papers for metallic wallcoverings. Led by Graham & Brown’s “Green Metals” initiative, this industry-wide shift proved that sustainability and luxury could coexist. Their first collection using 100% recycled metallic pigments and FSC-certified paper sold out in weeks, demonstrating strong market demand for eco-conscious luxury.
At Milan Design Week in April 2015, Tom Dixon and IKEA unveiled their groundbreaking “DELAKTIG” collection. These wallpapers incorporated conductive metallic elements that could power LED displays or connect to smart home systems. The innovation turned walls from passive surfaces into interactive architectural elements, marking the beginning of truly “smart” wallcoverings.
Climate consciousness reached new heights when Flavor Paper launched their “ThermaTek” collection in August 2017. These wallpapers featured thermochromic metallic pigments that changed color as room temperatures fluctuated, providing visual feedback about energy consumption. The papers became particularly popular in sustainable building projects, where they served both decorative and functional purposes.
In November 2019, Japanese manufacturer Toppan revolutionized the market with their “PhotoMetal” technology. These wallpapers contained UV-sensitive metallic layers that gradually shifted patterns throughout the day in response to natural light. The innovation earned a CES Innovation Award and redefined how designers thought about dynamic interior spaces.
As COVID-19 transformed global priorities, Silver Nano Systems introduced their “SafeShield” metallic wallcoverings in June 2020. These papers incorporated antimicrobial silver nanoparticles that could eliminate 99.9% of surface bacteria and viruses. The technology merged health safety with luxury aesthetics, becoming standard in healthcare facilities and high-end hotels.
March 2022 marked a turning point when MIT’s Material Sciences Lab unveiled “BioMetal” – a revolutionary wallpaper surface that mimicked butterfly wing iridescence using zero metallic content. Instead, microscopic structural patterns created stunning metallic effects through light interference alone, suggesting a future where sustainable luxury becomes the norm rather than the exception.
The latest frontier opened in January 2024 with Stratasys’s introduction of the “MetalFuse” system – the first commercial-scale 3D printer designed specifically for metallic wallcovering production. This technology can build intricate, multi-layered patterns that interact with light in previously impossible ways, pointing toward a future where the distinction between surface decoration and architectural structure continues to blur.
[Would you like me to expand on any of these developments or explore their implications for the future of wallcovering design?]
The history of metallic wallpaper is a story of constant reinvention. From the gilded parchment of Renaissance Europe to the hammered metal tiles of the 1500s, the lavish Baroque and Rococo indulgences, the mechanized breakthroughs of the 19th century, the artistic revolutions of Art Nouveau and Art Deco, the futuristic optimism of the Atomic Age, the rebellious experimentation of the 1960s–1970s, and onward into the digital revolution—each era has left its own shining imprint.
Today, technological advancements permit near-limitless variation: digitally printed metallic overlays, eco-friendly inks, interactive, conductive surfaces, and subtle, tone-on-tone designs that evoke sophistication without the brashness of yesteryear. With sustainable practices becoming increasingly paramount, we continue to see innovation at the crossroads of art and technology. Whether one’s preference is the opulent gold leaf reminiscent of Versailles or the sleek silver geometry of an Art Deco skyscraper, metallic wallpaper remains a testament to humanity’s drive to craft interiors that mirror our fascination with light, reflection, and the allure of precious metals.
Its cultural longevity across centuries underscores a universal desire: to inhabit spaces that catch and refract light in mesmerizing ways, transforming ordinary walls into portals of elegance and wonder. As we march deeper into the 21st century, the potential for further breakthroughs—ranging from augmented reality integration to wholly biodegradable metallic illusions—seems boundless. The story of metallic wallpaper is far from over; it is, in many ways, only just beginning a new chapter of luminous possibilities.
Open Monday - Friday: 9:30am-5:30pm
*Closed Saturday & Sunday*
Open Monday - Friday: 7:30AM - 3:30PM
*Closed Saturday & Sunday*