Julie Paterson: Cloth

In an increasingly commoditized market flooded with generic products, establishing a unique brand identity and achieving customer recognition is paramount for designers. Textile designer Beatrice Larkin has successfully cultivated a signature style in her woven textiles, accessories, and interior products, making her designs instantly recognizable through their distinctive blurred edges and broken geometrics. Her creative process begins with hand-drawn sketches, where the initial marks, intricate patterns, and blotches made with pen and ink are deliberately preserved and celebrated in the finished fabric. This artistic approach ensures a consistent aesthetic across all her woven creations. The production of Larkin's textiles involves a collaborative effort with skilled manufacturers in the north of England. She works with a Jacquard mill in Lancashire to produce small runs of her woven designs, which are then washed and finished in the Yorkshire Dales. The process begins in her Margate studio, where she engages in extensive mark-making with inks, envisioning the final product's scale and application. These initial designs are then refined using Photoshop to determine fabric repeats and optimal sizing. Currently, her collection features two primary materials: fine Merino wool, typically used for throws, cushions, and accessories, and recycled cotton, a more robust option suitable for cushions, upholstery, and curtains. The Merino wool, known for its softness, is sourced from spinners in Italy. Similarly, the recycled cotton collection utilizes rejected fabrics from the clothing industry, which are re-spun and repurposed, also originating from Italian spinners. These yarns are then sent to the Lancashire mill for weaving, brushing, and washing before being returned to Larkin. The final products are then sewn either in her studio or by local Margate makers, though fabric is also available for purchase by the meter. This meticulous production chain underscores her commitment to quality and sustainable practices. Beatrice Larkin's entrepreneurial journey recently received significant recognition with the Start Up Award as part of the Women’s Launch Lab Incubator 2024. As one of ten female entrepreneurs selected from hundreds of applicants, she participated in an intensive three-day program. This program provided access to expertise from innovative female entrepreneurs, growth and marketing strategists, and public-speaking coaches. The experience culminated in pitching her business to venture capitalists and angel investors, including notable figures such as Alison Cork MBE, Akshata Murty, and Judy Naake MBE. Larkin emphasized that this experience offered valuable perspective and a significant confidence boost. Her business was founded in 2013, immediately following her Master's degree from the Royal College of Art, where her final collection garnered interest from prominent buyers like Heal’s. After graduating, she sought a British mill capable of producing her designs at scale. In 2015, Daylesford Organic provided funding for her initial fabric run, which was woven in the Cotswolds and Yorkshire. This collection was sold at Daylesford and served as a crucial launchpad for future manufacturing endeavors. By spring 2017, she began selling at Heal’s and unveiled her first collection at Clerkenwell Design Week. Larkin's immersion in the fabrics industry was a natural progression, deeply influenced by her upbringing. Her father owned Gordon Larkin Fine Wallpaper & Fabric in Canterbury, and her mother was also a textile designer, ensuring a household constantly surrounded by fabrics. Childhood memories of accompanying her father to design shows in Chelsea Harbour and exploring fabric showrooms further solidified her connection to the industry. She attributes her entrepreneurial spirit and the ability to forge her own path to observing her parents' lifestyle as business owners. Three years ago, Larkin relocated to Margate, drawn by its vibrant creative community. Since then, she has expanded her client base, with local stockists including Turner Contemporary and Harbour & Tide. Her brand, Beatrice Larkin, has also been embraced by renowned establishments such as Made, Studio Ashby, Conran and Partners, Tate Modern, and Piglet in Bed. Her journey reflects a blend of inherited passion, formal education, strategic partnerships, and a clear vision for her brand's aesthetic and ethical production. #TextileDesign #BeatriceLarkin #MargateDesign #WovenTextiles #InteriorProducts #SustainableMaterials #BritishManufacturing #Entrepreneurship #WomenInBusiness

Humphries Weaving, a prominent British manufacturer, specializes in custom jacquard fabrics, offering bespoke weaving services tailored to specific project briefs. Their approach allows for customization in color, design, and composition. The company prioritizes design excellence and integrity, leveraging extensive knowledge, a rich archive, and technical expertise to produce fabrics for a diverse clientele. This includes prestigious institutions such as Royal Palaces and Historic Houses. While they predominantly focus on historical furnishings, Humphries Weaving also collaborates with contemporary interior design firms and provides fabrics for ceremonial gowns. A notable example of their work involves the authentic restoration of a listed building in Middelburg, The Netherlands. The client, engaged in researching historical fabric wall coverings, found Humphries Weaving's direct-to-customer approach appealing. They selected an 18th-century "Perquisite" damask from a range of gold and cream samples to create custom fabric, which was then woven in Sudbury, Suffolk. The clients undertook the installation of the fabric walling themselves and expressed satisfaction with the outcome, believing it effectively integrates the historical influences within the room. They credited Humphries Weaving for their assistance in navigating their historical pattern archive, as well as for their expertise, advice, and encouragement throughout the interior design process. Humphries Weaving's commitment to quality and historical accuracy is evident in their projects, reinforcing their position as a key player in the textile industry for both historical and contemporary applications. The company invites interested parties to explore their work further via their website and Instagram. #BritishTextileWeek #HumphriesWeaving #JacquardFabrics #BespokeTextiles #HistoricalFurnishings #InteriorDesign #TextileManufacturing #RestorationProjects #CustomFabrics

This article highlights a new cashmere throw collection, a collaboration between Mongolian-born cashmere designer Oyuna Tserendorj and British architectural designer John Pawson. The partnership bridges the cultural expanses of Western Mongolia, specifically the Khovd Province, with the botanical serenity of Kew Gardens in west London. The collection draws inspiration from Pawson’s 70-meter-long Lake Crossing, also known as the Sackler Crossing, a pathway that meanders through 120 meters of the Royal Botanical Gardens. The five-piece capsule is crafted from 100 percent Mongolian cashmere, produced by the nomad community with whom Tserendorj has consistently collaborated since the inception of her eponymous brand, Oyuna, in 2002. Pawson emphasizes the architectural nature of design, stating, “it’s all architecture, whether it’s a fork, an entire monastery or a throw.” He notes the opportunity to focus intensely on elements like color, tone, pattern, rhythm, and texture within this textile project. Tserendorj reflects on the organic development of their partnership, which began over a decade ago through mutual acquaintances in London, valuing the intuitive process and the collaborative evolution of ideas. Initially, the project aimed to translate an image Tserendorj had captured of a frozen Tolbo lake in Western Mongolia into abstract patterns for the throws. However, the initial samples did not meet their expectations. Undeterred, they revisited Pawson’s extensive archive and ultimately found inspiration in the Lake Crossing pathway he completed in 2006. This architectural work provided the stimulus for the collection's elemental color palette and patterns, reflecting the shades and surface textures of the crossing, along with the cement and slate materials frequently used by Pawson. The finished throws embody the designers' shared dedication to architectural lines, pure form, and meticulous attention to detail, which are subtly presented and sensuously revealed upon interaction. Pawson observes a deep conceptual alignment with Tserendorj's work, noting, “I see so much of the thinking that has shaped my own work underpinning Oyuna’s pieces.” He elaborates on the thematic connections, particularly their mutual understanding of the critical importance of material palettes. Pawson underscores the value of collaborations, stating they are essential for keeping creative thinking fresh and fostering design advancement through dialogue and genuine exchange. Each throw, priced at £1,195, represents an investment in slow luxury, with the production involving eight to nine hours of work from cashmere yarn. These pieces are designed for longevity, akin to Pawson’s enduring objects and structures. Tserendorj further explains the profound commitment involved, detailing how nomads care for their goats for a year, combing 15 to 20 goats' hair in spring to yield enough cashmere for a single throw. She suggests that if one considers the wisdom and traditions of the nomads, who live harmoniously with the land and livestock, the creation process spans centuries. The collection is set to launch mid-October and will be available exclusively through oyuna.com and the OYUNA store in London. #JohnPawson #OyunaTserendorj #CashmereThrows #TextileDesign #ArchitecturalDesign #LuxuryHomeGoods #MongolianCashmere #KewGardens #Collaboration

The Textile Company, a Sydney-based enterprise, has established itself as a significant force in Australia's interior design industry, supplying high-quality fabrics and wallcoverings to leading designers such as David Hicks, Greg Natale, Thomas Hamel, Alexandra Kidd, Kate Nixon, and Adelaide Bragg. Owner Peter Fitzgibbon, who started his career in a fabric warehouse in Auckland four decades ago, built the company on a deep passion for textiles. His early experiences included measuring and cutting fabric, moving into sales, and eventually buying, which led to crucial supplier relationships with international brands like Phillip Jeffries, Misia, and Fabricut. The company's showroom is organized with fabrics meticulously filed by color base, alongside a diverse library of grasscloth, wall coverings, and wall murals, reflecting a serious expertise in product. The inclusion of Peter's daughter, Jessica, marked a new phase for the business. Jessica's operational skills allowed Peter to dedicate more time to sourcing excellence and attending European trade shows, while she managed the day-to-day operations. Their collaboration leverages their distinct strengths, fostering growth and innovation within the company. Jessica emphasizes the importance of storytelling behind the brands they represent. She aims to understand and share the narrative of each fabric and wallcovering, bringing the product to life beyond its physical sample. An example she highlights is Jean Monro, a historic English fabric company renowned for weaving and hand-blocking fabrics for the British Royal Family. With King Charles's endorsement, Jean Monro is set to release 40 exclusive royal designs, showcasing a dedication to preserving traditional craft. Jessica actively hosts industry events to connect designers with craftspeople, facilitating a deeper understanding of these fabric houses. The Textile Company also champions traditional techniques, as seen in the 'Manila Hemp' grasscloth wallcovering collection from Phillip Jeffries. This collection features fibers grown and hand-loomed by artisans in the Philippines and finished by skilled craftspeople in Japan. These textural wallcoverings, available in various colors, are increasingly used in high-end residential and luxury hotel projects, offering an alternative to paint with their rich texture. Sustainability is a core focus for The Textile Company, recognizing the textile industry's environmental impact. Jessica highlights the importance of responsible selling, differentiating their products from fast fashion. She notes that reupholstering furniture is a considered act of sustainability. Peter makes conscious sourcing choices, opting for natural, pure linens and recycled polyesters whenever possible, reflecting the company's commitment to environmentally sound practices. The company's limited number of carefully selected suppliers ensures deep product knowledge and strong partnerships, allowing them to foster growth for both their business and their suppliers. Peter envisions the company as a legacy, emphasizing that while the textile business may not yield billionaires, it offers a fulfilling life of working with beautiful products and wonderful people. The Textile Company's approach reflects a blend of tradition, passion, collaboration, and a forward-thinking commitment to craft and sustainability in the world of interior textiles. #TextileCompany #InteriorDesign #Fabric #Wallcoverings #FamilyBusiness #Craftsmanship #Sustainability #LuxuryInteriors #AustralianDesign

The article details an unexpected collaboration between interior designer Kerry Joyce and artist Marian McEvoy, sparked by a social media connection. Joyce, known for his interior design work, discovered McEvoy's intricate collages of natural elements on Instagram, specifically under the handle @gustthepoodle. Intrigued by her unique artistic style, Joyce researched McEvoy and learned about her prominent background as a former editor-in-chief of ELLE DECOR and House Beautiful, as well as an editor for Women’s Wear Daily and W. This discovery led to a personal visit to McEvoy's home and studio in Wappingers Falls, New York. During this visit, Joyce recognized the potential to translate McEvoy's distinct artistic vision into fabric designs. He expressed his admiration for her creative energy and his conviction that her designs would be ideal for textiles. The collaboration materialized into a collection featuring five black-and-white botanical watercolors by McEvoy, which were then printed onto linen in ten different colorways. The collection showcases various nature-inspired motifs, including dotted leaves, whimsical vines, and striped florals, all stemming from McEvoy's imaginative work. McEvoy shared her perspective on this new chapter in her career, attributing her refined sense of color, style, and quality to her extensive experience in the fashion industry, particularly her 17 years spent in Paris working with couturiers like Yves Saint Laurent. She expressed gratification at the current level of interest in her work, especially at 73 years old, and highlighted the positive experience of collaborating with someone who genuinely appreciates and acts upon her artistic contributions. The success of this initial collection has already paved the way for a second collaboration between Joyce and McEvoy, scheduled for 2022, underscoring the fruitful nature of their partnership. The story, originally published in the September 2021 issue of ELLE DECOR, exemplifies how digital connections can evolve into tangible and impactful creative endeavors within the design world. #FabricDesign #DesignCollaboration #InteriorDesign #MarianMcEvoy #KerryJoyce #SocialMediaInfluence #TextileArt #BotanicalPrints #ELLEDECOR

Kelly’s Designer Drapes, owned by Kelly and Lee Nanney, specializes in creating custom-designed draperies and other window coverings to complement individual home aesthetics. The business focuses on providing high-quality, timeless curtains, shades, and valances. Kelly and Lee emphasize meticulous attention to detail and uphold high standards for the final product in every project. Their services include comprehensive fabric selections, in-home consultations to understand client needs and home styles, precise measuring, and professional installation. This end-to-end service aims to simplify the process for homeowners looking to enhance their interior spaces. Window treatments are presented not merely as functional necessities but as artistic elements that integrate with and elevate a home's existing furnishings. Kelly’s Designer Drapes also addresses the critical importance of substantial drapery hardware and proper installation for durability and aesthetic appeal. They offer a diverse range of hardware options, ensuring that clients have access to suitable choices for their specific design preferences and functional requirements. Professional installation is a core component of their service, guaranteeing that drapes are securely and beautifully mounted, contributing to the overall longevity and appearance of the window treatments. Beyond drapes and shades, the company extends its custom design capabilities to other home textile needs. This includes custom upholstery services, allowing clients to refresh or personalize furniture pieces with tailored fabrics and designs. Additionally, Kelly’s Designer Drapes provides custom bedding and pillows, enabling a cohesive design theme throughout a room. These offerings collectively empower homeowners to create a harmonized and personalized living environment, where every textile element contributes to the desired aesthetic and comfort. The business operates from an address at 2564 Hacks Cross Rd., Germantown, TN 38138, with operational hours listed as 24/7. Their social media presence, including Facebook and Instagram, allows them to connect with customers and showcase their work. The Nanneys' approach underscores a commitment to customer satisfaction through personalized service and expert craftsmanship, transforming functional home elements into decorative highlights that reflect individual style. #CustomDrapery #WindowTreatments #HomeDecor #InteriorDesign #CustomUpholstery #GermantownTN #HomeTextiles

Meredith Heron, a Toronto-based maximalist designer, consistently integrates a diverse range of patterns and color combinations into her projects. Her design philosophy revolves around the idea that "more is more," prompting her to incorporate multiple fabrics within a single room while consciously avoiding a "matchy-matchy" aesthetic. Heron also embraces challenging color palettes, often selecting hues that initially intimidate her, such as contrasting reds and greens, to push her creative boundaries. To harmonize these bold elements, Heron strategically employs a nuanced spectrum of gradient blues. This approach prevents her vibrant selections from clashing, instead creating a cohesive visual experience. A key technique she utilizes involves incorporating the same pattern in various colorways throughout a space. Additionally, she often chooses paint colors that are slightly off from fabric shades to achieve a more lived-in and organic feel, viewing this deliberate mismatch as an enjoyable design puzzle. Heron's mood board, which serves as a visual representation of her current inspirations, exemplifies her eclectic style. It features a blend of striking motifs, including multitonal stripes, flame-stitched chevrons, and animal prints. Each element is carefully chosen to contribute to her signature maximalist aesthetic, without overwhelming the space. She thoughtfully curates each component, demonstrating how disparate patterns and colors can coexist in a harmonious and sophisticated manner. Among the specific items highlighted in her mood board are the Handsart Key Rug in Merlot, which she appreciates for its meandering design that helps open up a space. The Camber Stripe Fabric in Green and Blue by Jane Churchill is noted for its mint hues, allowing her to integrate other mutable greens into her palette. The Inferno Fabric in Sapphire by S. Harris, a flame stitch, is a favored choice for sofas due to its distinctive texture and pattern. She also features the Regal Fancy Fabric in Verdant by S. Harris, an Art Deco-inspired green with a shimmering sheen, and the Midori Fabric in Verdure by Clarence House, which she describes as textural and luxurious, particularly when paired with leather. Heron also incorporates unique accent pieces, such as an antique cloisonné vase, which she sources from auctions to add a sense of history and a richer narrative to her designs. The Fissure Rug in Azure, from her own Meredith Heron Collection, showcases her passion for ombres, a design element she frequently includes in her rugs and fabrics. For hardware, she selects the Pyra Mitered Handle in Bright by Shayne Fox Hardware, appreciating the craftsmanship of a fellow Toronto designer. An animal print is almost always a staple in her projects, represented here by the Darwin Fabric in Blue by Jane Churchill, which, despite being a dotted pattern, evokes the texture of a stingray or shagreen. Wallpapers also play a significant role in her designs, with the Marble Tile 1 Wallpaper in Pebble by The Vale London being a choice for creating a faux marble effect on ceilings or within decorative molding. Another selection from The Vale London is the Bagan Wallpaper in Deep Sea, a pearlescent paper that caught her attention for its unique finish. For anchoring her color schemes, she uses the Giles Embroidery Fabric in Red/Blue by Lee Jofa, which incorporates the majority of colors present in a room. Finally, the Cleo Fabric in Copper and Red by Jane Churchill is chosen for its feathery, animal print-like qualities, contributing to the "well-traveled" ambiance she aims to achieve in her interiors. #MeredithHeron #MaximalistDesign #InteriorDesign #FabricPatterns #ColorPalettes #HomeDecor #DesignInspiration #LuxuryInteriors #TextileDesign

Kelly Clarkson's Home collection, available through Wayfair, is currently featuring significant discounts on living room accessories as part of President's Day sales. While the collection encompasses a wide range of home goods, particular attention is drawn to the textured and patterned rugs, blankets, and pillows. These accessories are highlighted as essential for adding personality and visual interest to a living space, embodying a timeless decorating strategy favored by designers. Design experts emphasize that successful accessorizing in neutral living spaces hinges on incorporating patterned and textured pieces. These items are considered valuable investments that will maintain their aesthetic appeal beyond the immediate sales period. Nina Lichtenstein, a designer, advises starting with a neutral foundation, such as walls, large furniture, or primary rugs, to establish a calming backdrop. This approach allows layered elements to stand out without creating a cluttered or competing visual environment. Lichtenstein further explains that layering diverse materials, including wood, metal, glass, and various fabrics, is crucial for adding dimension to a design. For instance, combining a plush velvet sofa with a sleek marble coffee table and a woven jute rug introduces a compelling contrast between hard and soft textures, resulting in a tactile and inviting space. This strategy enriches the sensory experience of a room, making it more dynamic and comfortable. Among the top recommendations from Clarkson's collection are a handmade jute rug and a matching basket, both crafted from natural materials. Also featured is a light pink oriental rug, noted for its stain-resistant properties, and multi-colored, Ikat-patterned throw pillows. These selections are presented as ideal examples of how to introduce texture and pattern into a neutral living room, offering warmth, sophistication, and a focal point for conversation. The article encourages prompt action on these deals, citing their flash sale nature. Specific product examples include the Soprano Solid Color Rug, a hand-flatweave jute/sisal blend, originally priced at $720.00 and now $114.99; the Aarya Hand-Braided Jute Basket, reduced from $159.99 to $48.99; the Blush Madison Double Knit Throw Blanket, marked down from $114.99 to $76.99; and the Bayeux Tassels Cotton Throw Pillow, available for $39.99 from an original price of $69.00. Another featured item is the Maren Oriental Rug, now $72.99 from $225.00, and the Talia 43" Wide Storage Sideboard, discounted from $629.00 to $299.99, which offers a blend of contemporary and vintage aesthetics with its rattan design and versatile black finish. These discounted items provide an accessible way for consumers to implement designer-approved strategies for enhancing neutral home interiors. #KellyClarksonHome #WayfairDeals #HomeAccessories #NeutralDecor #LivingRoomDesign #TexturalElements #PatternedPillows #JuteRugs #President’sDaySales

Vanessa Arbuthnott, a British textile designer, transitioned from a nursing and primary school teaching career to pursue her passion for creativity, founding her Cotswolds-based mail-order fabric company in 2000. Her business has since expanded to offer a diverse range of home furnishing products, including fabric, wallpaper, oilcloth, floor covering, upholstered furniture, and made-to-measure quilts. In 2012, she authored "The Home-Sewn Home," a book dedicated to soft-furnishing projects, and subsequently opened her first physical shop in Cirencester. Arbuthnott's collections are characterized by a blend of relaxed countryside aesthetics and Nordic simplicity, often featuring complementary color palettes that facilitate easy mixing and matching of patterns across her thirteen collections. Last season, she introduced "New Wovens," a collection of four striped linen fabric designs, including Baltic, Lapland, Nordic, and Scandi, available in two colorways and priced at £55 per meter. These versatile fabrics are suitable for various applications, from cushions to curtains and upholstery. Concurrently, she launched five wallpaper designs, ranging from £48 to £52 per roll, based on her popular fabric prints, encompassing a toile, two trailing florals, a trellis design, and a delicate spot pattern, each offered in up to four colorways. This season, Arbuthnott unveiled two new collections: "Birds & Beasts" and "Harris Tweed." "Birds & Beasts" is a printed collection co-created with her daughters, Rose and Flora, featuring whimsical wild animals, African-inspired acacia trees, and plump bird depictions. This collection introduces new color shades such as Dormouse, Kale, Mallow, Terracotta, and Tomato. The "Harris Tweed" collection incorporates locally sourced Scottish weaves, discovered by Rose during her travels. These tweeds serve as a complementary addition to Arbuthnott's existing ranges and can also stand alone, offering a distinct textural element that harmonizes with the "Birds & Beasts" motifs and other collections. The enduring appeal of Arbuthnott's designs lies in their Anglo-Scandi style, which allows them to seamlessly integrate into various interior design schemes, from country to contemporary to vintage. The deliberate use of consistent color palettes, such as Dusky Pink or Buttercup with Dove, empowers customers to combine different patterns and designs to achieve a cohesive and personalized look. Her shop is located at 12 Ashcroft Road, Cirencester, GL7 1QX, and further details are available on her website. #TextileDesign #VanessaArbuthnott #HomeDecor #FabricCollections #WallpaperDesigns #BritishDesign #CountryStyle #NordicSimplicity #HarrisTweed #SoftFurnishings

The article details the 'Technicolour' collection, a new textile collaboration between British graphic designer Peter Saville and the Danish textile company Kvadrat. This collection, comprising upholstery fabrics, rugs, and curtains, draws inspiration from a unique aspect of British rural life: 'smit marks' – the spray-painted patches used by shepherds to identify sheep. Saville, renowned for his work with Factory Records and various fashion clients, identified a 'pop' aesthetic in these utilitarian markings, which he calls 'rural graffiti,' seeing the spray can as a modern technological development. His long-standing collaboration with Kvadrat, dating back to 2004, initially focused on visual communication for the brand, with CEO Anders Byriel noting Saville's integral role in Kvadrat's transformation into a global cultural producer. The genesis of the 'Technicolour' collection stemmed from Saville's question about what would happen if the vibrant colors of these smit marks were not washed out but integrated into the wool production process. This inquiry led to the development of a collection that bridges farming, industry, and culture, aiming to bring elements of the outdoor pastoral landscape into interior cultural spaces. The 'Fleck' upholstery fabric, made from 100 percent English wool, is a key piece in the collection. It features neutral backgrounds subtly embedded with bright yellow, blue, and red fibers, creating a nuanced chromatic depth. Saville envisioned these textiles revealing unexpected color upon closer inspection, transforming seemingly plain surfaces into 'a cosmos of colour.' This concept builds upon a previous collaboration for the book 'Kvadrat Interwoven,' which utilized slim colorful yarns within a white and grey fabric. The collection further includes two types of curtains: 'Flux,' characterized by a rainbow stripe motif, and 'Fade,' a transparent curtain with iridescent neon hints that emerge with movement, both made from Trevira CS. Three ultra-tactile rugs, handwoven and robot-tufted, complete the range. 'Flock' and 'Fleece' rugs are crafted from pure new wool, directly referencing the sheep's coats, while 'Field' employs fine bamboo yarn for a more industrial interpretation. The overall goal for Saville was to create a journey from the pastoral to the cultural landscape, reminding observers of the land and fields, and bringing the outside indoors. Anders Byriel views the collection as more poetic than provocative, akin to a publishing house producing extraordinary works. He hopes 'Technicolour' will contribute to shaping a new aesthetic language for post-Covid interiors, providing much-needed excitement in a design landscape he perceives as currently 'good enough.' The collection was showcased at Salone del Mobile in Milan and Copenhagen's 3 Days of Design, highlighting Kvadrat's commitment to pushing design boundaries through innovative collaborations. #PeterSaville #Kvadrat #TextileDesign #TechnicolourCollection #WoolTextiles #InteriorDesign #DesignCollaboration #BritishCountryside #IndustrialDesign

This article celebrates the centenary of Lucienne Day, a pivotal figure in post-war British design, renowned for her vibrant, modernist textile designs. Lucienne Day, born on January 5, 1917, in Croydon, south London, studied at Croydon School of Art and the Royal College of Art (RCA) in the late 1930s, where she met her future husband, furniture designer Robin Day. Her RCA diploma show featured hand-block and screen-printed bold repeats, displayed alongside her husband's furniture, illustrating a nascent collaboration that would define both their careers. While their works often complemented each other, Lucienne Day forged a distinctive path in textiles, driven by a resolute modernist vision. Paula Day, Lucienne's daughter and director of the Robin and Lucienne Day Foundation, draws parallels between her mother's enduring influence and that of William Morris, highlighting the timeless quality of Lucienne's work. Paula suggests that Day's designs possess a "startling power and originality" that distinguishes them from many retro-style patterns. Lucienne Day sought to invigorate the textile industry with fresh, contemporary designs, drawing inspiration from modern artists such as Paul Klee, Joan Miró, and Alexander Calder, as well as decorative traditions from her studies at the V&A Museum. Plant forms, for example, consistently reappeared throughout her body of work. Her breakthrough came with 'Calyx', a stylized floral textile design launched at the 1951 Festival of Britain. This design, mixing muted and acid colors, was a radical departure in pattern aesthetics. Despite initial skepticism from Heal's fabrics director Tom Worthington, 'Calyx' proved immensely successful, leading to a two-decade-long collaboration with Heal's, during which she produced approximately 70 patterns for the brand. 'Calyx' remains in production today, a testament to its enduring appeal. Lucienne Day's style was characterized by continuous evolution, a responsiveness to fashion trends without merely following them, and an exploration of new artistic techniques. Early 1950s designs, such as 'Dandelion Clocks' and 'Trio', showcased quirky motifs rendered with fine black lines on solid colored backgrounds. Later, she experimented with monoprint techniques, creating textured effects through drawings on acetate sheets applied to tissue paper collages, as seen in 'Cadenza' and 'Night and Day'. Her architectural designs of the mid-1970s, including 'Apex' and 'Lucienne', led to her invention of "silk mosaics," a new textile medium using one-centimeter squares of richly colored silk to form strong abstract patterns. Among her vast portfolio, Paula Day finds 'Night and Day', a tea towel designed for Irish linen manufacturer Thomas Somerset in 1961, particularly poignant. This design, which perfectly balances a strong monoprint drawing of an owl with textured paper sun rays, symbolizes the relationship between her parents. Over her 60-year career, Lucienne Day collaborated with numerous prominent brands, including Liberty, John Lewis, Cole & Son, and Rosenthal, applying her distinctive flair to fabrics, wallpapers, carpets, homeware, and ceramics. Her unique combination of color, line, form, and composition created a recognizable style that continues to resonate decades later. Lucienne Day received significant accolades, becoming the first woman to be made master of Royal Designers for Industry in 1987 and awarded an OBE in 2004. She passed away in 2010 at the age of 93. In commemoration of her centenary, the Robin and Lucienne Day Foundation has released 100 previously unseen images of her work, which are featured on a 'Lucienne Day 100' poster and will be showcased in exhibitions, events, and awards throughout 2017. #LucienneDay #TextileDesign #ModernistDesign #BritishDesign #PostWarDesign #PatternDesign #MidCentury #DesignCentenary #DesignIcon

Susan “Rabbit” Goody, founder of Thistle Hill Weavers in Cherry Valley, New York, has dedicated her life to the meticulous reproduction of historic textiles. Her workshop, established in 1989, specializes in creating fabrics that faithfully replicate the weave, texture, weight, and color of historical materials for a diverse clientele including filmmakers, television producers, historic houses, and high-end furniture and clothing companies. Goody’s unique skill set makes her an indispensable resource for costume designers seeking unparalleled historical accuracy in their productions. Goody's journey into textiles began in her teenage years, driven by a fascination with the weaving process. After earning a degree in cultural anthropology and ethnomusicology from Bennington College in 1972, she moved to rural New York, where she initially supported herself through farm work. In 1975, she purchased a 150-acre farmstead and, with her first husband, built a home inspired by a 1690 Connecticut house. She developed a successful hand-weaving business, selling cashmere-and-silk scarves to stores like Saks Fifth Avenue. Her expertise grew during her tenure as head of the domestic arts program and curator of textiles at the Farmers’ Museum in Cooperstown, where she became a recognized authority on early American textiles. Goody also founded the Textile History Forum, an annual conference that convenes researchers, museum professionals, and scholars. In 1989, she moved her operation into an old feed mill, later expanding to a purpose-built facility next to her home. Today, Thistle Hill Weavers employs seven individuals trained by Goody to operate nine mechanized shuttle looms, some dating back to the 1890s, alongside archaic equipment like warp winders and quillers. Goody’s commitment to authenticity is evident in her approach to acquiring and maintaining machinery. She has salvaged looms from closing textile mills across several states, often from the legendary industrial loom-maker Crompton & Knowles, and has taught herself to repair and operate them. This dedication ensures that her workshop can produce textiles with historical integrity. Her fabrics have graced numerous film and television productions, including "The Gilded Age," _Cinderella Man_, _Master and Commander_, _No Country for Old Men_, _Noah_, "John Adams," and "Turn: Washington’s Spies." She even hand-wove a replica of a fragment of the original Star-Spangled Banner for a Smithsonian event. When a costume designer approaches Thistle Hill, Goody employs a blend of historical knowledge and modern technology. She uses a computer-attached loom to experiment with weave patterns and selects threads to match specific weight, texture, and color requirements. Her process involves creating small woven samples, which are then expedited to clients for review. This meticulous attention to detail is crucial, as even subtle changes in yarn weight or color can significantly alter a fabric’s character, impacting an actor's movement and the overall authenticity of a period piece. For instance, a fabric she produced for Tom Hanks’ overcoat in _Road to Perdition_ had to be re-woven with lighter materials for rain scenes due to its original, historically accurate weight making it too heavy when wet. Goody’s reputation as a historian and her practical skills make her an invaluable collaborator. Costume designers like Joanna Johnston, who worked with Goody on Steven Spielberg’s _Lincoln_, praise her weaving abilities and extensive historical knowledge. Goody recreated Abraham Lincoln’s shawl for Daniel Day-Lewis based on a detailed study of the original held by the Smithsonian. Beyond film, her work extends to historic preservation, such as creating delicate white dimity curtains for Emily Dickinson’s bedroom and a brightly striped Venetian carpet. She also produces custom fabrics for diverse applications, including a 'Mandalorian' cloak, demonstrating the versatility of her workshop. At 72, Goody remains actively involved in her mill and farm, displaying no plans for retirement, driven by her passion and the unique, irreplaceable skills she possesses in bringing the past tangibly to life through textiles. #TextileHistory #HistoricTextiles #CostumeDesign #FilmProduction #ThistleHillWeavers #RabbitGoody #LoomWeaving #TextileConservation #CulturalHeritage

Pamela Anderson embarked on a comprehensive press tour for her film, "The Last Showgirl," which premiered on January 8th. The promotional activities commenced in September, five months prior to the movie's release, and showcased Anderson's consistent commitment to minimalist fashion, particularly in her red carpet appearances. A notable example was the gold Oscar de la Renta gown she wore at the 2024 Gotham Awards in December. While her red carpet style has often been in the spotlight, her street style moments for "The Last Showgirl" promotions had been less frequent until January 7th. On this particular day, Anderson presented three distinct, promo-related ensembles, each adhering to her signature minimalist aesthetic. The day began with Anderson appearing in New York's Hudson Square neighborhood, sporting a monochromatic navy blue outfit. This look, seemingly self-curated, consisted of a flowing long-sleeve blouse paired with high-waisted trousers of the same color. A slim dark brown belt cinched the waist of the trousers. To combat the New York chill, she layered an oversized peacoat in a slightly darker indigo shade. The ensemble was completed with black leather gloves and matching pumps, with Anderson choosing to forego jewelry, thus directing focus to the sleekness of her accessories. Later that day, Anderson made a second appearance outside SoHo House for a private screening of "The Last Showgirl." For this event, she opted for a textured two-piece set from Tory Burch Resort 2025. Her second look featured an elongated coat, buttoned to the top, which seamlessly integrated with coordinating leggings. Chocolate brown knee-high boots completed this winter-appropriate outfit, maintaining her minimalist yet chic approach. Anderson's final public appearance of the day was at Rockefeller Center for "The Tonight Show Starring Jimmy Fallon." During her segment with Fallon, where she discussed "The Last Showgirl," she wore a black satin trench coat styled as a dress. This ankle-length trench was paired with semi-sheer tights and pointy pumps, culminating her day of promotional activities with another effortlessly elegant and minimalist ensemble. This series of outfits underscored Anderson's preference for sophisticated, understated fashion during her film's press tour. #PamelaAnderson #StreetStyle #MinimalistFashion #CelebrityFashion #TheLastShowgirl #Monochromatic #ToryBurch #WinterFashion #RedCarpet

New York designer Sarah Lederman presents her latest mood board, a collection inspired by the rejuvenating spirit of Riverside Park on a warm spring day. Her selections emphasize a blend of luxe materials, subtle graphic patterns, and rich earth tones, all converging to create sophisticated yet inviting spaces. The dominant theme is green, chosen for its symbolic representation of health, renewal, and growth, which Lederman personally finds cheerful and mood-elevating. The final aesthetic combines tactile textures and earthy hues, punctuated by organic motifs and deep brown wood elements. Lederman's mood board exemplifies a layered and textural look, achieved by mixing natural materials such as jute, wool, and oak with various green and neutral tones. Each component is chosen with meticulous attention to detail, reflecting her philosophy that small touches make a significant impact. The first item highlighted is the Caitlin Single Tassel Tieback in Celery by Samuel & Sons, used previously in the Holiday House NYC designer showhouse to add a perfect finishing touch to raw silk curtains. This detail-oriented approach is further evident in her choice of the Petite Cross + Dot fabric in Grove by Erika M. Powell Textiles, which offers a modern take on a floral motif, demonstrating a preference for juxtaposing traditional prints with contemporary iterations. The designer's own company stationery, a custom Sarah Lederman Interiors envelope, seamlessly integrates into the green color scheme, underscoring brand consistency. A key element is the Hunter Green Tile by Fireclay Tile, a chic matte subway tile Lederman is eager to incorporate into an ideal client's project. For neutral patterns, she selects the Haven fabric in Wheat by Thibaut, a painterly design that facilitates easy layering within her schemes. Fermoie’s Rabanna fabric in L-267, an ivory and green print, is another frequent choice for client presentations due to its small-scale patterns and extensive color range. To infuse unique, handcrafted organic touches, Lederman collaborated with JJ Snyder Studio for a custom decorative paint finish on a client’s coffee table. The Budding Stripe fabric in Grass by Rebecca Atwood combines various shades of green with embroidered flower buds, creating a vibrant, natural feel. Farrow & Ball's Lichen paint is noted for its ability to impart an inviting British ambiance, as seen in a recently painted kitchen. For furniture, the Audubon Pedestal Dining Table in Natural Oak by Doorman Designs, particularly its reeded oak sample, is destined for a custom dining table project in upstate New York. Wall coverings include Barkskin Wallcovering in Ivory by CABA Company, chosen for its subtle texture and customizable tones and sheet sizes. The Painterly Windowpane fabric in Brown by Miles Redd for Schumacher is selected for its balanced graphic yet hand-drawn pattern, suitable for diverse design schemes. For flooring, the Patchwork Oregano Rug by Temple Studio, a wool and jute blend, provides a cheerful and spring-like foundation. A touch of old-world charm is introduced with the Butterfly fabric in Vert by Pierre Frey, which subtly incorporates illustrated animals. Custom fabrics play a significant role, such as a nubby hand-woven linen/wool textile from Soraya Shah for Temple Studio, produced locally in New York. The Mazan fabric in ZFMZ-O5 by Zak+Fox is favored for upholstery due to its distinctive baseball stitch detail, which can be applied creatively for varied looks. Finally, the Mohair in Fig by Otis Textiles is chosen for its durability and plush texture, providing a verdant accent to sofas while ensuring longevity and comfort. #InteriorDesign #MoodBoard #SpringInspired #GreenPalette #MaterialSelection #TextileDesign #HomeDecor #DesignerSpotlight

Peggy and David Matthews, celebrating their 30th wedding anniversary, undertook a significant interior design renovation of their Southside Place home, which they built 20 years ago. The initial design of the house catered to their young children, but with their five children now ranging from 16 to 28, and several back home due to the coronavirus pandemic, the family's needs and lifestyle have evolved. Peggy Matthews, who owns Rapid Record Retrieval, a legal support company, expressed a desire to upgrade, redo, and refresh their living space, driven by her love for change. The redesign project was spearheaded by Marie Flanigan Interiors, with Marie Flanigan and design director Melanie Hamel leading the effort. A key aspect of the renovation involved transforming a multi-purpose front room, which had served as a playroom and teenage hangout, into Peggy's personal retreat. This room now features deep blue lacquered walls and built-in bookshelves, a sofa reupholstered in white fabric, a bold geometric rug with chartreuse accents, and a dark blue tufted ottoman. This space allows Peggy to relax privately, though it remains appealing to other family members as well. Peggy's passion for fashion significantly influenced the design choices, prompting the designers to incorporate sophisticated yet functional fabrics inspired by runway trends, including Hermes and Jean Paul Gaultier fabrics. The home's existing art collection, notably Andy Warhol's "Cowboys and Indians" lithographs, served as a primary source of color inspiration. The rich ochers and cobalts present in Warhol's pieces, such as "Mother and Child" in the front room, "Geronimo" in the family room, and "Kachina Dolls" in the hallway, guided the selection of the home's new color palette. Flanigan and Hamel aimed to create a vibrant interior that matched Peggy's dynamic lifestyle, moving away from an all-white aesthetic. The dining room, frequently used for family gatherings, was reimagined with customized de Gournay "Willow" wallpaper featuring delicate branches and a Lindsey Adelman "Branching Bubble" chandelier. Vintage side chairs, discovered on firstdibs.com with garish green frames and old upholstery, were meticulously restored with a gold-bronze finish and reupholstered to complement the wallpaper. The family room was designed with two distinct seating areas to accommodate both large group television watching and intimate conversations, and even includes a designated "dance floor" for entertaining. Minor updates were also made to the kitchen, including replacing traditional island legs with edgier stainless steel ones to match the existing stainless steel counters and range hood. New barstools, combining wood frames with varied fabric on the backs and seats, added warmth. A geometric patterned backsplash was installed after a range replacement, contributing to the updated decor. The breakfast area received new furniture, including a round table that can expand to an oval for larger gatherings. Furthermore, part of the backyard patio was enclosed with large glass panels to create an indoor-outdoor sunroom, offering a climate-controlled space that can be fully opened to the outdoors. This sunroom is furnished with a mix of blue and white patterns in performance fabrics, including a bold Martyn Lawrence Bullard Perennials print on a large ottoman, a striped chair, a solid sofa, and a chevron rug, ensuring durability and a cohesive aesthetic that extends the home's style into the outdoor living area. #InteriorDesign #HomeRenovation #FashionInspiredDecor #LuxuryInteriors #ArtCollection #CustomWallpaper #ModernTraditional #IndoorOutdoorLiving #FamilyHome

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

Renowned textile designer Jack Lenor Larsen has collaborated with Sunbrella, a prominent manufacturer of performance textiles, to launch the Larsen Performance Collection. This partnership marks Sunbrella’s first venture into developing an entire collection with Larsen, building on their existing history of collaborations. The collection introduces a vibrant array of multi-use performance textiles that mimic the luxurious appearance and feel of high-end fabrics, while incorporating inspired designs. Larsen, a key figure in 20th-century craftsmanship, draws inspiration from his ambition to integrate design into unexpected contexts, reflecting individuality and global influences gathered during his travels. His familiarity with performance fabrics stems from his work at LongHouse, the 16-acre nature reserve and sculpture garden he established in East Hampton, New York. The collection emphasizes the integration of art into everyday environments, offering intricate and rich patterns that are also durable, fade-proof, and easy to maintain. Larsen has delved into his extensive print archive to reinterpret multicolor floral and stripe designs, transforming them into woven jacquard patterns. These patterns feature soft chenille textures, bringing a new level of tactile comfort to both indoor and outdoor living spaces. Larsen highlights the revival of “Midsummer,” his most popular floral print from the 1950s, now re-imagined as a woven jacquard. His long-standing interest in basket collection also informs the designs, with the Interlacing pattern serving as an exploration of basic basket weave constructions translated into textiles. He emphasizes the importance of durability in fabrics, stating that textiles need to resist fading for various applications, including children’s areas, workspaces, and living spaces, drawing a parallel to the strength of a well-woven basket. Larsen describes the collection’s colors as possessing a “crispness, cleanliness, bright or not,” suggesting their versatility across numerous settings and their ability to create coherent aesthetic themes both indoors and outdoors. A key element of the Hieroglyph design is its fabric pattern, for which the Sunbrella design team developed a performance-grade “horsehair” yarn. This yarn incorporates bi-colors that blend matte and shine finishes, contributing both luster and enhanced durability to the pattern. Similarly, the Chinoise fabric showcases an all-over matelassé pattern, delivering a subtle yet captivating motif with a soft, tactile quality. Larsen expresses his satisfaction with the jacquard facilities and the capacity to use multiple colors to produce patterned fabrics, which he believes bring joy. He acknowledges the significant advancements in fabric technology, noting the rising importance of multi-use spaces and the availability of fabrics that resist sun fading, rot, mildew, rain, and wear. Larsen summarizes the collection’s diversity, ranging from “quite bold, to subtle, to crisp,” and reiterates his belief that the colors are adaptable to many environments. The collection aims to provide high-quality outdoor style solutions, as Larsen remarks on the pleasure of outdoor entertaining. The Larsen Performance Collection is currently available through Larsen Fabrics, offering a range of textile options that blend artistic design with practical performance characteristics for contemporary living. #TextileDesign #PerformanceFabrics #JackLenorLarsen #SunbrellaCollaboration #InteriorDesign #OutdoorLiving #JacquardPatterns #FabricInnovation