IDS Vancouver 2026: Speed Running Design with My Favourite Little Critic
After missing IDS Vancouver in 2025 while adjusting to life as a new mom, I was determined to make it this year. The last time I attended the show was in 2024, when my little bun was still in the oven.
Now that he's here, it's become clear that he's inherited at least one of my interests: lighting. Ever since he was tiny, he's been fascinated by light fixtures. Whether we're at home, out for dinner, walking through a hotel lobby, or visiting a new space, he's always pointing upward, studying pendants, sconces, and chandeliers. As a designer, I couldn't be prouder.
With our family's schedule being as packed as ever, getting to IDS wasn't exactly easy. Friday and Saturday were completely booked, so I crossed my fingers that we could squeeze in a visit on Sunday, the final day of the show.
And when I say our schedule is crazy, I mean it.
The day started with the usual routine: feeding Bubs a bottle at some unreasonable hour of the morning, helping get the troops (Daddy, Baby, and Dog) ready for a trip to the dog park, and attempting to either start work or sneak in a shower if I was lucky. Once the troops returned, it was time for breakfast. When Bubs finally went down for his nap, I shifted gears and focused on completing a review of commercial bar equipment shop drawings while Daddy packed the diaper bag and lunch bag for our downtown adventure.
Once Bubs woke up, it was game on! We hit the road.
By the time we arrived at the Vancouver Convention Centre, there was only about an hour and a half left before the show closed. Daddy graciously took Bubs and the dog for a 45-minute seawall adventure while I attempted what can only be described as "speed running" the convention floor.
My mission? To discover Canadian manufacturers and products that I can confidently specify on future projects.
However, one thing that immediately stood out this year was the shift in colour, texture, and graphic expression across many of the exhibits. Rich earth tones were everywhere. Deep aubergines, oxblood reds, cinnamon oranges, forest greens, warm browns, and layered natural materials appeared repeatedly throughout the show. Large-scale organic patterns, floral-inspired graphics, tactile textiles, and sculptural forms created spaces that felt immersive.
What made this particularly interesting for me was that it validated some design forecasting I had been exploring based on seeing how trends come and go and what often inspires them.
A couple of months ago, I had shared an AI-generated concept of a future JLA Studios office based on where I believed commercial design was heading. My prediction was that the industry would gradually move away from cooler, minimalist palettes and begin embracing richer, more layered environments rooted in nature and human connection.
The concept featured warm terracotta tones, earthy greens, deep reds, dark woods, natural stone, botanical motifs, and sophisticated organic graphics. At the time, I thought this aesthetic was still several years away from widespread adoption.
After walking IDS Vancouver 2026, my conviction changed….
Many of the exhibits felt remarkably aligned with that vision. From dramatic floral textiles set against deep plum architectural backdrops to displays combining olive greens, warm burgundy velvets, natural stone, and handcrafted wood furnishings, the signals were impossible to ignore. What I expected to emerge over the next three to five years already appears to be gaining momentum.
For the final 30 minutes of the show, we brought Bubs inside so he could conduct his own product evaluations, particularly in the lighting section. I like to think he provided some valuable feedback on what should be considered for future JLA Studios projects.
A few standout exhibitors made a lasting impression.
The locally made wooden children's play structures by Fern Kids immediately caught both of our attention. Bubs was particularly impressed with their product portfolio and couldn't put their brochure down.
Hollis + Morris continued to demonstrate why Canadian-made lighting deserves a place on the global design stage. Their craftsmanship, attention to detail, and beautiful material palette were highlights of the show.
Elm Custom Woodwork showcased the kind of custom millwork expertise that allows designers to bring unique, highly tailored concepts to life. I already have ideas on how I would like to utilize their craftsmanship!
Don-Bar Luxury Fireplaces impressed with both their design flexibility and willingness to work through custom solutions, product ratings, and installation considerations.
It was nice to have the opportunity to connect directly with Canadian manufacturers, learn about their capabilities, and discover products that may become the perfect fit for a future project. Between shop drawing reviews, diaper bags, dog walks, nap schedules, and downtown traffic, making it to IDS this year felt like a small victory.
And sharing the experience with my favourite little lighting critic made it even better.