Why this Arkansas designer never uses the same fabric twice

French architect Clarisse Merlet, through her studio FabBRICK, is demonstrating the significant potential of recycling textile waste into viable construction materials. Originating from a school project, Merlet's initiative addresses the substantial pollution generated by the construction and fashion industries. The fashion industry alone contributes millions of tons of textile waste annually in Europe, with a considerable portion remaining uncollected. FabBRICK aims to transform this discarded textile into insulating, structural, and aesthetic building bricks, which can then be used to create furniture or partition walls. The development process involved extensive experimentation to refine the technique. Initially, discarded textiles are sorted by color, responding to customer preferences as FabBRICK avoids dyeing its bricks, instead deriving color from the source materials. The textile is then shredded into fibers of varying lengths (7mm, 20mm, or 40mm) depending on the project's requirements. A crucial element of the process is the proprietary, 100% ecological binding agent, developed with an engineer, which transforms the textile fibers into a clay-like consistency. This binding agent was specifically formulated to be rot-proof and mold-resistant, overcoming a significant challenge in using organic waste for construction. The mixture of fibers and glue is carefully weighed to ensure consistent density before being manually loaded into a patented machine. This machine compresses the mixture into brick form over approximately 30 minutes. The bricks then undergo a natural drying process in ambient air for 10 to 15 days. Once cured, these bricks exhibit impressive characteristics, including mechanical resistance comparable to concrete blocks, good acoustic and thermal insulation properties, and satisfactory fire resistance. While they possess good water resistance, indoor use is currently recommended. FabBRICK's business model emphasizes local production, with all ingredients and machinery sourced locally in France. This commitment to proximity is a core value, aiming to foster local manufacturing and reduce environmental impact. Despite its local focus, the studio has a global vision, recognizing the ubiquitous nature of fast fashion waste. The long-term plan involves automating the production process to increase recycling capacity and replicating the FabBRICK Factory model first within France and then internationally. This expansion strategy seeks to establish local production units globally, situated close to sources of textile waste, thereby promoting sustainable construction practices worldwide. #SustainableDesign #InnovativeMaterials #TextileRecycling #EcoFriendlyConstruction #CircularEconomy #ArchitecturalInnovation #LocalProduction #FabBRICK

Rebecca Atwood, a fabric designer, discusses her new book, "Living with Color," which focuses on the challenges and joys of incorporating color into home decor. This book follows her previous work, "Living with Pattern." Atwood emphasizes that color is fundamental to design, influencing mood and reflecting personal style, and she aims to provide practical guidance for its use in homes. She addresses the common reluctance to use bold colors, often stemming from a fear of being stuck with a particular hue or growing tired of it. Atwood suggests that neutrals, while seemingly safe, can lead to a dull space if not approached creatively. Her book offers strategies for making neutrals interesting by exploring their undertones, such as pinker taupes or greener grays, to create a chromatic neutral palette. She advises looking to natural landscapes for inspiration on color palettes and proportions. For those new to integrating color, Atwood recommends starting with easily changeable items like fresh flowers, fruit bowls, pillowcases, napkins, or small decorative objects on a bookshelf. This approach allows for experimentation without a significant commitment. She highlights the significant impact color has on mood, explaining that different values of color—light, mid-tone, and dark—can evoke different feelings, from airy to cozy to moody. She encourages individuals to reflect on how colors personally affect them to tailor their environment accordingly. Atwood shares that her personal color palette is deeply rooted in the landscape of Cape Cod, where she grew up. This origin inspires her use of chromatic neutrals and her appreciation for tonal variations, which she incorporates into her fabric designs. She aims to create collections that are easy for customers to mix and match, both within her line and with other decor elements, fostering a sense of cohesion and harmony. The discussion also touches upon the timelessness of bold colors, citing historical examples such as Thomas Jefferson’s bright yellow dining room at Monticello and George Washington’s Prussian Blue room at Mount Vernon. These examples challenge the misconception that past interiors were always subdued in color, noting that the availability and colorfastness of pigments influenced historical perceptions. Atwood stresses that for bold colors to be timeless, quality is crucial, whether it pertains to paint, rugs, or furniture. Currently, Atwood expresses a particular fondness for various shades of green and gray-lilac, demonstrating her continuous engagement with color trends and personal preferences. #DecoratingWithColor #RebeccaAtwood #InteriorDesign #HomeDecor #ColorPsychology #FabricDesign #TimelessDesign #ChromaticNeutrals #DesignTips

The article introduces Bengt Thornefors, the creative director of Sahco, a nearly 200-year-old textile brand, and his innovative approach to integrating fashion and interior design. Thornefors, known for his work in the fashion industry with brands like Acne Studios and Saint Laurent, was appointed to his current role in 2022. His background includes co-founding the bedware brand Magniberg, which, like Sahco, is now under the ownership of Kvadrat. This experience has equipped him with extensive expertise in fashion, which he now applies to the realm of textiles. Thornefors's appointment by Kvadrat's CEO, Anders Byriel, reflects a desire to inject fresh perspectives into Sahco, moving beyond traditional textile manufacturing to embrace broader cultural and artistic influences. Thornefors views interiors as having a special appeal, and his ability to navigate both fashion and interior design was a key factor in his selection. He aims to explore the interplay between historical textile traditions and contemporary design, creating collections that embody the essence of a true textile maison. For Sahco's inaugural press presentation at Kvadrat's New York City headquarters, Thornefors adopted an unconventional approach. He transformed the space into a white-box gallery, showcasing fabrics tailored into garment bags and hung on rolling racks, reminiscent of a fashion show. These textile displays were artfully combined with fine art photographs and furnishings from the esteemed Swedish institution Svenskt Tenn, demonstrating a fusion of art, fashion, and home decor. This presentation strategy was a deliberate effort to blur the boundaries between different creative disciplines, emphasizing the emotional and artistic value of textiles rather than just their functional aspects. The reception to Thornefors's innovative presentation was highly positive, even from discerning figures like Jonathan Olivares, the architect of the presentation space. His new collections for Sahco are characterized by a blend of heritage sensibilities, retaining Sahco's traditional decorative florals, with a contemporary Scandinavian aesthetic. Thornefors highlights examples such as lime-green embroidery on a jet-black background, which illustrates his modern interpretation of classic motifs. This design philosophy underscores his belief that Sahco sells more than just fabric; it sells emotions, aiming to evoke feelings and experiences through its products. The article concludes by noting that this story originally appeared in the September 2023 issue of ELLE DECOR, emphasizing its relevance and timeliness within the design world. #TextileDesign #InteriorDesign #FashionInfluence #BengtThornefors #Sahco #Kvadrat #HomeDecor #ScandinavianDesign #CreativeDirection

Contemporary furniture designer Robby Cuthbert crafts sculptural pieces that merge architectural principles with organic forms, using the concept of tensegrity. His creations, including coffee tables, lamps, shelves, and chairs, are meticulously constructed from wood and steel cables, entirely eschewing traditional fasteners like glue, screws, and nails. This innovative approach results in furniture that appears light, airy, and modern. Tensegrity, a term coined by renowned American architect Buckminster Fuller, describes structures that achieve stability through a balanced distribution of tension. A prime example is the geodesic dome, which, despite its delicate appearance, derives its strength from the tension between its interconnected components. Cuthbert applies this very theory to his furniture, engineering each piece to perfection. The tension within the steel cables or the cantilevered design, anchored to a single point, provides the necessary structural integrity. Cuthbert's work transcends mere functionality, functioning equally as elegant artwork. His background in studio art, coupled with a keen interest in architecture and sculpture, profoundly influences his design philosophy. He explains that he aims to generate architectural and organic forms, often incorporating fantastical or whimsical elements, to explore the role of tension in storing and releasing energy. He uses wood and wire as his primary materials to suggest a state of pent-up energy, held in equilibrium by opposing forces. Each piece maintains potential energy, implying a transformative shift if that energy were to be released. The absence of visible fasteners like nails, screws, and glue is a defining characteristic of his work, highlighting the ingenuity of tensegrity. This method allows for unique aesthetics where components seem to float or defy gravity, creating a sense of wonder and visual intrigue. The design process involves a deep understanding of structural mechanics and material properties, ensuring that the inherent tension within the materials contributes to the overall stability and form of the furniture. His collection, which includes diverse items from lounge chairs to wine racks, showcases the versatility of tensegrity in furniture design. Each item is not just a piece of furniture but a demonstration of complex engineering principles applied artistically. Cuthbert's designs encourage viewers to appreciate the unseen forces at play, celebrating the elegance of structural balance. The visual effect is one of minimalist beauty, where the materials are presented in their most essential and dynamic forms. #contemporaryFurnitureDesign #tensegrity #tensegrityFurnitureDesign #modernFurnitureDesign #RobbyCuthbert #architecturalPrinciples #sculpturalFurniture #designInnovation

Margo Selby, a celebrated designer-weaver, has been at the forefront of innovative textile design for over a decade, distinguishing her work through the creation of colourful, three-dimensional fabrics that form the core of her vibrant cushions, throws, rugs, and various home accessories. Her signature style, characterized by strong graphics and intricate patterns, originates from her Kent studio, where she utilizes a 24-shaft dobby loom to develop her unique hand-woven textiles before they are put into production by specialized mills. Selby's artistic journey is deeply rooted in her family's tradition of textile craftsmanship, with her grandmother, Edith Selby, having taught her crocheting and cross-stitching. This early exposure to textile arts naturally led her to pursue a focus on textiles during her foundation studies at Chelsea College of Arts, where she also explored graphic design, sculpture, and three-dimensional design. Her formal education continued with an MA in woven textiles from the Royal College of Art, followed by a fellowship at The Ann Sutton Foundation. During her fellowship, Selby engaged in projects that included developing products for Shetland wool and designing dobby fabrics for the interiors fabric industry in Yorkshire, establishing her initial connections with industrial mills. It was through these experiences that Selby began to bridge her hand-woven concepts with industrial manufacturing processes, leading to the development of her brand's hallmark silk and Lycra fabrics. The inspiration for her innovative three-dimensional fabric concept stemmed from her fascination with surface and texture, particularly the desire to emulate the tactile quality of bubble wrap packaging using silk. This pursuit involved extensive research into different fibers that would shrink when exposed to heat, which she then wove in combination with silk to achieve the desired three-dimensional surfaces. Selby's design philosophy is intrinsically linked to the art of weaving, which serves as the primary source of inspiration for all her creations. Beyond her personal handloom work, she actively explores global trends in woven textiles, drawing stimulation from highly decorative designs rich in pattern and color. Recent collections reflect an appreciation for indigenous and tribal fabrics, including techniques such as Japanese dyeing and African prints. The design process for her fabrics begins with the careful planning of the warp, which forms the structural backbone of the fabric on the loom, allowing for experimentation with different structures and weft yarns until a satisfactory product is achieved. This methodical and contemplative approach allows the fabric to evolve one row at a time, providing ample opportunity for design refinement. Once a fabric design is perfected through numerous developmental warps, Selby explores its potential for industrial production, collaborating with mills. For her flooring collection, her woven patterns were adapted into carpet constructions, manufactured in the UK. Operating from an open-plan studio in Whitstable, Selby immerses herself in a creative environment filled with materials, yarns, and inspiring imagery. Her daily routine involves addressing emails and collaborating with her team before dedicating the majority of her day to weaving at her loom. Her collaborations extend to companies like Alternative Flooring, for which she developed wool carpet and runner designs inspired by her deflected double-weave hand-woven cloths. Selby sources yarns globally, with Japan and the US being notable for their vibrant hand-weaving communities, and emphasizes selecting the most skilled weavers for specific material types. The business, which began in her bedroom, has expanded significantly to a bustling textile studio employing eight full-time staff and additional piece workers in Whitstable, focusing on bespoke textiles for a diverse range of applications. The handloom and the traditional craft of weaving remain central to all her products. The current re-emergence of carpet and color in fashion presents an exciting opportunity for her designs, particularly the translation of soft silk and wool fabric designs into large-scale, recolored flooring options. Selby's future plans include developing interiors fabrics for sale by the meter and expanding her accessories range to include bedlinen and towels. #TextileDesign #MargoSelby #WovenTextiles #HandloomWeaving #ThreeDimensionalFabrics #InteriorDesign #HomeAccessories #Craftsmanship #IndustrialCollaboration

Paige Russell, the Los Angeles-based founder of Eloi, has cultivated a distinctive approach to textile design, rooted in her lifelong passion for textiles and a unique pattern-making method. Growing up in Detroit, Russell developed an early aptitude for knitting and sewing, which led her to create her own clothing and bedding. While she pursued graphic design at the Savannah College of Art and Design, her education in textiles has been largely self-directed, drawing inspiration from historical textile sourcebooks and patterns found in old paintings and photographs. Russell's signature technique involves using construction paper cutouts to create collage-style motifs, a method she developed in college. This hands-on process allows her to step away from the computer screen, embracing a tactile and nostalgic approach to design. Once a design is finalized, she secures it to a wood panel with an acrylic matte medium, photographs it, and then refines it using Adobe Illustrator. This blend of traditional handcraft and modern digital tools gives her work a unique character that she describes as humanizing, contrasting with the often impersonal nature of graphic design. Eloi was launched in 2014 with a collection of small-batch bandanas featuring her playful, hand-forged patterns. The idea for printing her designs on scarves was inspired by the artist Kermit Oliver's work for Hermès, which Russell's mother admired and framed. This concept allowed Russell to transform wearable objects into potential fine art prints. At the time, she was based in Austin, balancing her creative pursuits with part-time service jobs. A pivotal moment for Eloi came in 2018 when Russell connected with Andrée Chalaron, an Austin-based interior designer and co-founder of Counterpart Studios. Chalaron, a collector of Russell's bandanas, commissioned her to create custom curtains for a residential project. This collaboration involved a mix of Russell's original designs in new colorways, as well as entirely new patterns. This partnership has since blossomed into a comprehensive collaboration with Counterpart Studios, resulting in two collections of handmade upholstery and wallcoverings. These collections feature vibrant and distinctive designs, such as the kaleidoscopic floral "Sugar Mountain fabric" and the rhythmic, plaid-inspired "Squiggle Tartan Grand wallpaper." A third installment is on the horizon, promising new designs like "Boteh," a paisley-style print, and "Suzani," inspired by traditional Persian needlework. Beyond wallcoverings and upholstery, Eloi also offers "gathering cloths"—lightweight linen tablecloths and napkins adorned with Russell's vibrant prints. These versatile items are designed to be beautiful, well-designed, and multipurpose, suitable for transforming a table or serving as a portable beach blanket. Russell is currently engaged in bespoke design projects for two boutique hotels, The Chloe in New Orleans and the Bunkhouse Group’s new Hotel Saint Augustine in Houston, indicating a growing demand for her custom work. She is also expanding Eloi’s commissionable offerings to include event branding, particularly for weddings. In this capacity, she creates custom designs that tell a couple’s story, which are then incorporated into invitations, paper goods, guest favors, and tablecloths. Her overarching goal remains to consistently produce work that she is proud of, collaborate with respected individuals, and continually challenge herself with new creative endeavors. #TextileDesigner #Eloi #PaigeRussell #HandmadePatterns #CollageArt #InteriorDesign #HomeDecor #CustomTextiles

The field of textile technology is undergoing a significant transformation, with new structures, raw materials, and manufacturing processes challenging traditional definitions. Historically, textiles have been understood as materials woven, knit, crocheted, knotted, or felted from yarns derived from cellulose, protein, or petroleum-based synthetic fibers. However, a new generation of consumer textiles is emerging, driven by advancements in digitization, customization, sustainability, performance, and accelerated production timelines. This evolution is heavily influenced by additive manufacturing models, including 3-D knitting and printing, molding, bonding, and lamination. Concurrently, a diverse range of new raw materials, such as biosynthetics, foam, and composite structures, are contributing to this disruption. The expanding knowledge base initially applied to consumer products is now extending to broader applications and industries. An example of this is the controversy surrounding the skeleton suits worn by Team GB at the 2018 PyeongChang Winter Olympics. These suits, made from a polyurethane derivative and custom-fitted using 3-D laser scans, incorporated aerodynamic ridges. Their innovative design sparked debate about adherence to Olympic rules regarding aerodynamic advantages. Innovations in knitting technology, exemplified by Nike and adidas's knitted shoe uppers launched in 2012, have revolutionized athletic footwear design. These advancements have streamlined the supply chain and reduced material waste by utilizing flatbed knitting machines for complex, customized dimensional knit structures, eliminating the need for individual sewn pieces. This technology is now finding applications beyond footwear, including architecture and automotive components, with companies like IKEA adopting 3-D knit technology for chairs and Japanese firm Shima Seiki Mfg. Ltd. developing lightweight knit components for auto parts. Further examples of material innovation include Reebok's Flexweave™, a woven structure designed for lightweight, breathable, and customizable shoe uppers. Flexweave integrates various raw materials, such as chenille yarns for softness and thermoplastic elastomer (TPE) yarns for stability, with potential for incorporating spandex or high-tenacity fibers. This material is being adapted for diverse products, including suits, athletic chairs, gloves, and training masks. Architect Jenny Sabin has also explored 3-D knitting with photoluminescent, solar-active, and recycled yarns to create art installations, such as the Lumen exhibit at MoMA PS1. Raw material innovation is progressing rapidly, with biosynthetic polymers—derived from renewable resources like sugars, starches, plant oils, and biomass—projected to account for a significant portion of chemical sales. The focus on sustainability makes biosynthetics a promising area of development. Additionally, thermoplastic polyurethane (TPU) from companies like BASF, Huntsman, and Lubrizol Corp. is changing material applications. TPUs are known for their elasticity, durability, and melt-processing capabilities, making them suitable for footwear components and performance textiles. They can be blown into foam, creating lightweight, cushioning, and breathable materials like Lubrizol’s BounCell-X™, a low-density, recyclable foam manufactured using nitrogen gas as a physical blowing agent, resulting in a clean, chemical-residue-free product. Lubrizol’s Estane® TPU TRX can form abrasion-resistant materials similar to rubber and is compatible with over-molding softer BounCell-X foam components, eliminating the need for solvent-based adhesives. The company’s Esdex® TPU yarns can be integrated into shoe uppers or other textiles and customized for flexibility, comfort, and reinforcement. The “green” aspects of these materials are significant, as they offer thermoforming capabilities for bonding and customization while retaining flexibility, breathability, and antibacterial properties, unlike traditional foams that require cutting and adhesives. TPU's strength and elastomeric properties are also proving valuable for 3-D printing (3DP). Lubrizol is collaborating with HP to develop Estane TPU polymers for fused deposition printing processes. While 3DP has been hailed as the future of textiles, with footwear brands and high-end designers adopting it, the traditional 3DP process often results in stiff, scratchy, and brittle garments due to the fusion of raw materials, unlike woven or knit textiles where yarns can move. Progress in flexible 3DP materials has been slow until recently. Designer Danit Peleg has advanced 3DP textiles by utilizing Filament FilaFlex®, a flexible 3DP filament made from TPE. Her work with Andreas Bastian's mesostructured cellular materials, which impart flexibility through geometry rather than material properties, enabled her to create wearable 3DP fabric. Peleg collaborated with Gerber Technology to create digital patterns for her designs, improving their AccuMark® pattern-making and 3-D visualization software. The plastic polymers used in her designs can be recycled at home using desktop extruders from companies like Filabot, allowing for quick recycling and reuse of materials. Bastian also envisions broader applications for his 3DP structures, including architectural facades and composite body panels for boats and automotive bodies, offering enhanced flexibility and complex curvature. These new definitions of “textiles” present both challenges and opportunities for the industry. #TextileTechnology #AdditiveManufacturing #3DKnitting #3DPrinting #Biosynthetics #ThermoplasticPolyurethane #SustainableMaterials #AthleticFootwear #SmartTextiles

Designtex, a US-based company, has introduced a new upholstery fabric called "Wonder," which is part of their Joy collection. The fabric is designed to positively impact human emotions, drawing on extensive research into how the brain perceives color, form, and texture. The executive design director at Designtex, Sara Balderi, emphasizes the importance of materials in creating pleasant and uplifting environments, stating that individuals spend most of their time in various spaces and that materials offer numerous opportunities to make a significant difference in these settings. The Wonder fabric features a polyester-based woven textile adorned with an abstract pattern that takes inspiration from the natural appearance of wildflower fields. The design incorporates subtle contrasting yarns to provide an additional layer of depth to the colored shapes within the pattern. This artistic approach aims to evoke a sense of joy and well-being, aligning with the overall objective of the Joy collection to enhance people's spirits through aesthetic appeal. In terms of composition and practical application, the Wonder fabric is crafted from a blend of polyester, acrylic, and nylon yarns. A significant aspect of its design is its commitment to sustainability, as it is made from 60 percent recycled content. Designtex highlights the fabric's durability and ease of maintenance, making it suitable for a broad spectrum of interior applications. These include demanding environments such as healthcare facilities, educational institutions, various workplaces, and hospitality settings, where both aesthetic quality and practical performance are crucial. #Designtex #WonderFabric #Upholstery #Textiles #InteriorDesign #JoyCollection #SustainableMaterials #RecycledContent #HealthcareDesign

Nanimarquina, a Spanish rug company, has collaborated with the American firm Designtex to produce two high-performance upholstery textiles, 'Join' and 'Mending.' These fabrics are specifically designed for the contract market, yet they retain a handcrafted aesthetic. Both textiles are woven from polyester and are characterized by their soft, natural color palettes. The design intention behind these fabrics was to evoke the charm and inherent imperfections typically associated with handmade items. The 'Mending' fabric draws its inspiration from the traditional act of stitching and repair. This is reflected in its design, which incorporates a subtle grid pattern overlaid with patch-like shapes, suggesting a mended or pieced-together appearance. In contrast, the 'Join' fabric features soft-edged, offset stripes. This design choice aims to create a visual rhythm that is both balanced and subdued, contributing to a calm and harmonious environment. Catherine Stowell, VP of Design at Designtex, commented on the collaboration, noting their admiration for Nanimarquina's commitment to craftsmanship and material celebration, qualities not always prominent in commercial textiles. The partnership presented Designtex with the challenge of translating these high-level craft cues into the durable and practical requirements of commercial materials. The design team focused on incorporating performance yarns and intentionally introducing subtle imperfections into the weaving process to achieve Nanimarquina's distinct material sensibility. Nani Marquina, the founder of Nanimarquina, described the collection with the Spanish word 'sincero,' signifying a deep honesty. This sincerity, she explained, is palpable in the materials used, the manufacturing process, and the overarching design intent. The result is a collection of fabrics that marries the durability needed for contract environments with the tactile and visual warmth of artisanal products, offering a sophisticated and authentic feel to commercial spaces. #TextileDesign #UpholsteryFabric #Nanimarquina #Designtex #ContractMarket #HandcraftedAesthetic #PolyesterFabric #InteriorDesign #MaterialInnovation

The article introduces Wannabe, a felted wall-covering textile developed by the US brand Designtex. This innovative product is distinguished by its sustainable composition, being made entirely from 100 percent recycled plastic bottles, with each yard of textile repurposing 15 plastic bottles. Wannabe is designed to offer both aesthetic appeal and functional benefits for interior spaces, specifically focusing on soft tactility and acoustic comfort. The textile is presented in three distinct variations to cater to diverse design preferences: the original flat style, Wannabe Rib which features a fine pattern, and Wannabe Stripe, characterized by a bolder linear emboss. These variations are engineered to complement each other, allowing for creative mixing and matching to achieve customized wallcovering solutions within interior design projects. Beyond its structural and design versatility, Wannabe places a significant emphasis on color. The textile is manufactured using solution-dyed fibers, a process that ensures enhanced colorfastness and superior stain resistance. The product line offers an extensive palette of 25 deep, marled hues, providing designers and consumers with a wide range of options to match various interior aesthetics. Environmental considerations are central to the Wannabe product. In addition to its primary composition of post-consumer recycled plastic, the textile is formulated to be low in Volatile Organic Compounds (VOCs). It also explicitly excludes anti-microbials, flame retardants, and PFAS (per- and polyfluoroalkyl substances), addressing concerns about indoor air quality and chemical exposure. These attributes underscore Designtex's commitment to producing a product that is not only visually appealing and functional but also environmentally responsible and safe for interior environments. Designtex, the manufacturer, specializes in textiles and wallcoverings, and the Wannabe collection represents their ongoing efforts in sustainable product development. The product aims to meet the growing demand for eco-conscious materials without compromising on design quality or performance in commercial and residential applications. The integration of recycled materials and the avoidance of harmful chemicals highlight a proactive approach to sustainable manufacturing practices within the textile industry. #Textiles #WallCoverings #RecycledPlastic #AcousticProducts #InteriorDesign #SustainableMaterials #Designtex #WallcoveringSolutions #FeltedTextile #EcoFriendlyDesign

Kate Loudoun Shand, a designer based in Wiltshire, England, is dedicated to creating visually appealing and sustainable fabrics and wallpapers. Her goal is to produce uniquely patterned textiles that are durable and have a positive environmental impact. Shand's lifelong interest in fabrics began in Suffolk, leading her to study fashion at Central Saint Martins and earn a master's degree in textiles at the Royal College of Art. After her education, she worked in New York for notable fashion designers such as Calvin Klein and Marc Jacobs. In 2017, Shand established her eponymous studio in Brooklyn, launching a collection of painterly fabric patterns. These initial designs drew inspiration from diverse sources, including Victorian clothing and Duran Duran album covers. Three of her original patterns—Pow!, The Edwardian, and Cheetah—continue to be bestsellers, highlighting her aim to introduce distinctive patterns to the market that were not readily available elsewhere. Her first collection featured approximately 20 fabrics, emphasizing novelty in design. Four years ago, prior to the pandemic, Shand relocated her brand to Bath, England, to be closer to her family. Her studio is situated in a refurbished glove factory, and she considers Bath an ideal location due to its emerging status as a hub for interior design and her personal affinity for Georgian aesthetics. Shand's design process starts with hand-painted motifs, which are often derived from historical patterns found in history books. Once a motif is selected, it is converted into a repeatable design. These designs are then either digitally printed as wallpaper or hand-block-printed or screen-printed onto fabric. Some of her fabrics are also digitally printed or hand-embroidered in India, a process she values for its exceptional craftsmanship. Material selection is a crucial aspect of Shand’s work. Most of her fabrics are made from pure Belgian linen, certified by the Alliance for European Flax-Linen & Hemp (formerly CELC). Her wallpapers are primarily printed on clay-coated paper in the United States, utilizing the services of eco-conscious printing studio Twenty2. Shand designs her patterns with longevity in mind, creating robust and unpretentious products suitable for families, drawing from her experience as a mother of three. The brand collaborates with weavers in India to develop strong, unique fabric weaves, resulting in products that generally surpass industry standards in weight and durability. In addition to her ready-to-shop collection, which includes performance upholsteries, Shand also offers bespoke textiles for both residential and commercial projects. Her custom design business is expanding, and she plans to emphasize this service more in the coming months. Shand is currently developing a new embroidered design for spring and intends to introduce two new colorways for her popular Evelyn Stripe fabric. Her overarching mission is to continue producing beautiful textiles and wallpapers for individuals who appreciate quality, history, and imaginative design. #TextileDesign #WallpaperDesign #SustainableFabrics #HandBlockPrinting #InteriorDesign #EnglishDesign #CustomTextiles #FabricPatterns #HomeDecor