Zebrawood begins with weathered driftwood, the way salt and sun open the grain of timber into dark and pale bands, and pushes it towards animal marking, so the design sits deliberately between two references without settling on either. Read as wood it is a striped grain. Read as hide it is a dappled pelt. Neither reading is wrong.
The stripes are irregular in width and broken along their length, which is what keeps it from being a stripe in the conventional sense. It behaves more like a texture with a strong vertical bias: at a distance the wall reads as a worked surface, up close the individual markings separate out. That vertical emphasis gives a room noticeable height without the formality a drawn stripe brings.
It hangs with a half drop on a 0.53 m roll with a 76 cm repeat, so alternate lengths are offset by half the pattern and the markings never line up into bands across the wall. Zebrawood is at its most useful in the rooms where a plain would be too quiet and a pattern too much: a dressing room, a cloakroom, a study, a hall, the walls of a small bar. It sits well with dark timber, leather, brass and plain wool.
