The Making Of Daisy

Daisy began with two references that sit quietly together in my mind: Caillebotte’s Parterre de Marguerites and the crop field I grew up opposite. In summer I used to cut straight through that field and sit in the centre of it, surrounded by tall stems and the steady sway of daisies and chamomile. There was nothing grand about it — just light, movement, and the sense of being entirely inside the landscape.

Caillebotte painted Parterre de marguerites at his property in Petit-Gennevilliers, where he was deeply involved in designing and cultivating his own gardens. By the 1890s, gardening had become a central part of his daily life, and his flowerbeds served as immediate, practical subjects for studying light, structure, and natural pattern. The work reflects that phase: a straightforward, observational record of a space he maintained himself.

Those same qualities—its emphasis on pattern, repetition, and a designer’s attention to the layout of a garden—guided my approach to the Daisy wallpaper. I drew from the painting’s clear, organized rhythm, which originates directly from Caillebotte’s interest in both horticulture and composition.

Hope you like it!