Spotlight on: British textile designer Vanessa Arbuthnott

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

Martyn Thompson, a New York-based artist and the creative force behind Martyn Thompson Studio, has discovered an innovative approach to repurpose discarded materials, transforming his used drop-cloths and rags into a collection of woven tapestries and fabrics. This initiative, aptly named ‘The Accidental Expressionist,’ debuted at The Future Perfect in New York. The collection is notable for its jacquard-woven textiles and murals, which reimagine the incidental marks and stains left by the artist during his previous projects. Instead of being mere by-products, these elements are elevated and given new significance, becoming the central focus of the final artworks. The essence of ‘The Accidental Expressionist’ lies in its celebration of often-overlooked details and the expressive traces of the artist's creative process. Each piece in the collection encourages viewers to engage in close examination, revealing layers of colors and stains that coalesce into Pollack-esque splatters. Thompson meticulously collects and photographs these incidental marks, transforming them from discarded elements into purposeful components of his art. This process not only breathes new life into otherwise waste materials but also redefines their aesthetic and conceptual value within a fine art context. At The Future Perfect’s showroom, the versatile applications of this collection were showcased, demonstrating how these unique fabrics can serve as upholstery for furniture, be crafted into pillows, and even form bespoke lampshades. A standout example is the 'Quarry' lamp, a collaborative effort between Thompson and artist Dove Drury Hornbuckle. Hornbuckle hand-crafts the lamp's structure, which resembles stacks of ceramic shards, while Thompson’s studio provides the distinctive bespoke shade, featuring the collection's unique textiles. The 'Quarry' lamp is also available in a cast bronze edition, offering a variety of patinas. ‘The Accidental Expressionist’ collection thus embodies a powerful narrative of transformation and artistic vision, converting what was once considered refuse into objects of beauty and design. It highlights the potential for creativity to find inspiration and value in unexpected places, challenging conventional notions of artistic materials and processes. The collection offers a fresh perspective on sustainability in art and design, illustrating how an artist's personal history and working methods can be intimately woven into the fabric of their creations. The exhibition at The Future Perfect provided an immersive experience for visitors to witness the innovative use of these transformed materials in various interior applications, from large-scale murals to intricate lighting fixtures. #MartynThompsonStudio #AccidentalExpressionist #TextileArt #SustainableDesign #WovenTapestries #ArtisanCraftsmanship #InteriorTextiles #TheFuturePerfect #CollaborativeArt

The British Textile Week 2021 showcases the latest Autumn/Winter 22/23 collections from various British mills, highlighting innovations in textile design, composition, and application. The collections feature a range of fabrics suitable for fashion, suiting, jacketing, and interior applications such as upholstery and drapes, demonstrating the versatility and craftsmanship of the British textile industry. Marton Mills presents its 'Derwent' range, a 100% Wool Tweed that incorporates bright color flecks and large-scale repeats, offering a fresh take on traditional tweed. William Halstead introduces a Wool/Mohair Denim, a new addition to their modern classics, designed to align with the contemporary trend of smart casual wear. They also feature a resilient twill suit fabric made with mohair in the weft and a 2-ply worsted warp, known for its clean surface achieved through a flaming process. Stephen Walters showcases semi-solid jacquard color blankets, with compositions ranging from cotton and silk blends to pure silk and wool-silk blends. Another offering from Stephen Walters is the 'Revival' range, featuring a blurred floral design with a blend of Viscose, Wool, Polyester, and Silk. Laurent Garigue presents a pastel mohair check, composed of Mohair, Wool, and Nylon, alongside a mohair over-checked tweed made primarily of Wool and Mohair with a touch of Nylon. John Foster expands its Oxbridge Flannel family with new jacketing and suiting fabrics, emphasizing the beauty of woollen yarn and a double mill finish. These fabrics include contemporary windowpanes, traditional gun club, and shepherd check designs, complemented by semi-plains in classic and complementary tones. Their Oxford Flannel collection, made from 100% Super 120’s Wool, offers graphic elegance and timeless designs with modern color inspirations for jacketing fabrics. Samuel Tweed features a classic windowpane design on a semi-sheer white ground, made from Mohair, Wool, and Nylon. They also re-color their best-selling 'Malcolm' tartan design, maintaining the Mohair, Wool, and Nylon composition. Taylor and Lodge, under their Arthur Harrison brand, introduce the '2080' range of 100% wool worsted flannel (420gms), presenting new stock-supported plains and a selection of new designs within this range. Maison Henry Bertrand's AW22-23 collection, 'Oceanic' and 'Cosmos,' utilizes various yarns and compositions of mainly natural fibers to create diverse effects. David Walters contributes to interior design textiles with a 'Bird' design jacquard fabric, highlighting an illustrative drawing style using Viscose, Cotton, Polyester, and Flax, suitable for upholstery. They also feature a 'Geo' design, 'Perspective Geo,' a wool blend (Wool, Cotton, Viscose) currently being woven for showroom lengths and scheduled for an October launch. MYB Textiles prepares for Proposte 2022 with a tropical pineapple design, fresh off the loom. Humphries Weaving presents an 18th Century “Abberton Damask” in custom silk and linen shades, derived from their extensive textile archive and suitable for upholstery, curtains, and drapes. These selections highlight the ongoing innovation and rich heritage of British textile manufacturing across various applications. #BritishTextileWeek #TextileInnovation #AW2223Collections #WoolTweed #MohairBlends #JacquardFabrics #UpholsteryTextiles #FashionFabrics #InteriorDesignFabrics

The article details Kirkby Design's 'Underground Vol II' collection, a collaboration with Transport for London (TfL), which was launched at the London Design Festival. The collection features contemporary patterned woollen textiles, specifically upholstery velvets, inspired by historical moquettes from TfL's seating fabric archives dating back to the 1930s. Creative director Jordan Mould explains that the idea for the first 'Underground' collection originated when he observed the unique fabric designs on a tube carriage during an empty late-night journey, sparking the idea for a partnership with TfL. The 'Underground Vol II' collection reinterprets these vintage designs by adjusting their scale, texture, and color palettes to create a more sophisticated and luxurious aesthetic suitable for modern interiors. While the essence of the original designs is maintained, the updated color combinations are trend-driven. Each design in the collection is named after the London Underground line it was originally featured on, which helps customers connect with the historical aspect of the textiles, often evoking fond memories of their travels around London. Mould highlights 'Northern,' a design from 1965 by Marianne Straub, in the 'Biscuit' colorway, as one of his personal favorites from the new collection, appreciating its graphic statement. The article suggests that there is a vast amount of material within TfL's archives, hinting at the possibility of future collaborations. The collection is available from £89 per meter through Kirkby Design and was featured in the October issue of ELLE Decoration. This initiative represents a fusion of historical public transport design with contemporary interior textile trends, transforming functional patterns into high-end decorative elements. #KirkbyDesign #LondonDesignFestival #TextileDesign #UpholsteryVelvets #TransportForLondon #InteriorTextiles #DesignCollaboration #MarianneStraub #HomeDecor

Bru Textiles, an international fabric supplier founded in 1995, has established itself by prioritizing quality, service, and strategic investment in technological advancement. Recognizing the increasing adoption of augmented and virtual reality in design and manufacturing, and the growing consumer trend of online purchasing, Bru Textiles launched Bru Digital in 2017. This dedicated digital research and development arm, comprising developers, CG artists, designers, and stylists across offices in Belgium and Ukraine, aims to bridge the 'imagination gap' between digital visualizations and physical products. The team's innovative venture, TwinBru, provides a service that offers photorealistic digital twins of Bru's extensive fabric library, rendered onto a diverse range of interior furnishing models. By leveraging the scalable computing power of Amazon Web Services (AWS), Bru has successfully generated hundreds of thousands of high-quality rendered images, solidifying its position as a digital leader within the industry. TwinBru's services extend beyond pre-configured content to include model creation, scene configuration, and rendering. This allows Bru's broad customer base, including manufacturers, designers, architects, wholesalers, and retailers, to apply digital materials from Bru’s fabric library to any model and integrate them into various 3D scenes. The resulting photorealistic images are nearly indistinguishable from professional catalog layouts and can be utilized in both online and offline applications. These applications encompass printed collateral, digital furniture configurators, and virtual reality environments. Ben Brabant, Bru Innovation Consultant, highlighted that TwinBru is setting a new industry standard for digital fabrics. He noted that the ability to quickly render realistic visuals on AWS significantly reduces the decision-making timeline for consumers, particularly for high-value purchases, as projects can be conceptualized without requiring physical fabric samples. Beyond sales, these high-caliber visuals are also valuable for marketing, customer validation, and rapid prototyping, enhancing efficiency for brands. To date, Bru has digitized over 10,000 distinct fabrics through a high-resolution scanning process and offers approximately 40 customizable pre-built assets. Customers also have the option to provide their own models, which TwinBru artists rebuild and optimize for the bespoke digital fabric application process. For each TwinBru render, models and scenes are typically created using Autodesk Maya on local Linux-based workstations. The rendering itself is performed using Chaos Group’s V-Ray on Amazon Elastic Compute Cloud (EC2) Spot Instances, with render management handled by Deadline, an AWS Thinkbox software. Assets are managed via a proprietary internal system and stored on Amazon Simple Storage Service (S3). Koen Verwimp, Bru Lead Software Engineer, emphasized the suitability of AWS for their batch rendering needs, enabling easy scaling without the burden of maintaining physical compute infrastructure. He noted that they have peaked at 400 simultaneous instances on AWS, a significant increase from their five local machines, illustrating the newfound functionality and efficiency gained since migrating from solely on-premises resources. Jurgen Goris, Bru Senior Software Engineer, further elaborated on the increased experimental capacity provided by AWS. He explained that new approaches can be tested by firing up an EC2 instance with minimal cost, eliminating the need for hardware investment and allowing continuous fine-tuning of their AWS usage and workflow integration. #DigitalTextiles #AWSCloud #VirtualReality #AugmentedReality #3DRendering #FabricInnovation #HomeFurnishings #InteriorDesign #ScalableComputing

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

Rana Salam, a Lebanese-British graphic designer, has established a notable presence in the design world by uniquely blending Lebanese and Middle Eastern pop culture with retro and pop art influences. Born in Lebanon, Salam's early inspiration stemmed from her architect father, Assem Salam, and a Vespa gifted to her at age 15, which encouraged her to explore Beirut's art-filled streets. Her distinctive style is characterized by transforming visual snippets from billboards, vintage film posters, and signs into large-scale, retro-inspired art pieces, utilizing modern design technology to present her interpretation of pop culture to a global audience. Salam pursued her higher education in England, earning a BA in Graphic Design from Central St. Martins and a Master’s Degree in Visual Communication and Art Direction from the Royal College of Art in 1992. During this period, she recognized the rich creative potential within her home country and developed a passion for pop arts, focusing on reinventing them with contemporary flair. Her career gained momentum in 1995 when she established Rana Salam STUDIO in London. A pivotal early project involved designing a window display for Harvey Nichols, a prominent London department store, using collages of street billboards and featuring iconic figures like Bettie Page and Brigitte Bardot. Further solidifying her reputation, Salam drew inspiration from renowned designers such as Paul Smith, Sonja Rykiel, and Kate Spade. Following her success with Harvey Nichols, she was commissioned to design the new swimwear department for Liberty of London. A significant milestone in her career was the 2008 publication of her book, “The Secret Life of Syrian Lingerie,” co-authored with Malu Halasa, which sold 5,000 copies in its first year, marking it as a considerable success. After living in England for 27 years, where she absorbed the local art culture and integrated it into her Middle Eastern-inspired designs, Salam relocated her Rana Salam STUDIO to Beirut in 2010. A year later, she expanded her enterprise by opening the Rana Salam SHOP, which offers home products, accessories, art, and prints. Her focus is on curating unique objects to enrich her artistic creations, striving to portray Lebanon and the Middle East in a positive light through her work. As an entrepreneur, Salam's influence extends internationally, with projects and designs in cities including Miami, London, Dubai, Istanbul, and Milano. Her collaborations include working with Sauce Dubai to recreate Ferruccio Laviani’s classic Bourgie Lamp for Kartell and developing a new design for the iconic Converse brand as part of the “Made By You” project in 2015. She also contributed a pop-up installation to the Istanbul Design Biennale in 2017. More recently, she has been involved in designing for notable Lebanese restaurants in the diaspora, such as Comptoir Libanais in London and Noura in Paris. Rana Salam remains committed to her artistic mission of transforming perceptions of the Middle East through the transformative power of design. #RanaSalam #LebaneseDesigner #BritishDesigner #PopArt #GraphicDesign #MiddleEasternCulture #ArtDirection #DesignEntrepreneur #CulturalFusion

The article details the collaboration between fashion designer Roksanda Ilinčić and artist Rana Begum for Roksanda's A/W 2020 show at London Fashion Week. This partnership resulted in a unique, kaleidoscopic netted runway installation, reflecting both artists' shared emphasis on color and light within their work. Ilinčić's brand consistently explores female creativity and collaboration, a theme evident in her previous partnerships and her ongoing artistic dialogues. The inspiration for the A/W 2020 installation stemmed from Begum's observations of fishermen in flooded rice fields in Bangladesh. The artist chose lightweight netting as her primary medium, sourced during her residency in Morocco, due to its capacity to be manipulated for tension and force. This netting was spray-painted in vibrant neon blocks, allowing colors to blend and diffract light, creating a hazy, ethereal effect. The installation was strategically placed within the majestic courtyard of the Durbar Court of The Foreign & Commonwealth Office, floating above the catwalk and serving as a modernist cloud. This design choice directly complemented Ilinčić’s A/W 2020 collection, which showcased fluidity and movement through caped dresses, slouchy leather sportswear, and chunky cable jumpers, all presented in a rich palette of lime, aubergine, magenta, and caramel. Ilinčić consistently integrates art and architecture as foundational elements for her collections, viewing them as crucial starting points for her designs. She emphasizes the importance of collaborating with other creative individuals to enrich her storytelling. Prior to this collaboration with Begum, Ilinčić worked with the London-based art collective Troika for her A/W 2019 show. This earlier collaboration featured an abstract runway installation with six rainbow projections, drawing inspiration from Troika's 2019 Barbican artwork, 'Borrowed Light.' These continuous artistic collaborations highlight Ilinčić's commitment to creating immersive and narratively driven runway experiences. The installation not only served as a visual spectacle but also underscored the essence of Ilinčić’s collection, which focused on lightness and movement expressed through various mediums. Both Ilinčić and Begum share a background that has influenced their artistic appreciation for prismatic aesthetics, with Ilinčić hailing from Serbia and Begum from Bangladesh. This shared sensibility further strengthened the collaborative vision, making the installation a natural extension of both their individual artistic languages. The partnership showcases a harmonious blend of fashion and art, where the runway becomes a dynamic canvas for artistic expression and storytelling. #RoksandaIlincic #RanaBegum #LondonFashionWeek #FashionInstallation #ArtCollaboration #RunwayDesign #AWCouture #FemaleCreativity #TextileArt

Brigette Romanek, an interiors expert known for her work with celebrities like Gwyneth Paltrow, Beyoncé, and Joe Jonas, has launched her second furniture design collaboration with Mitchell Gold + Bob Williams. Following her initial furniture line, Romanek has now unveiled a six-piece lighting collection named "Luce." This new collection is inspired by vintage Italian glam and prominently features the popular design trend of curves, incorporating soft, glowing orbs and an antique brass finish. The pieces aim to add a "sexiness to the silhouette" and extend into a room in a "friendly way," according to Romanek. The Luce collection includes various lighting fixtures, such as table lamps, floor lamps, wall sconces, and a chandelier, with prices starting at $930. Romanek provided styling tips for each type of fixture to help homeowners integrate these statement pieces into their decor. For wall sconces, which are available in single and double configurations, Romanek suggests using them to illuminate transitional spaces like hallways, mudrooms, and entryways. Their dramatic gooseneck arcs and soft luster make them suitable for framing art or mirrors, drawing extra attention to these features, as demonstrated by Romanek herself above her fireplace. Regarding table lamps from the Luce collection, Romanek recommends placing a single lamp on a credenza to brighten it up, or using two lamps at each end for a more dramatic effect. She also highlights their dimmable functionality, suggesting they are ideal for creating a romantic glow when placed on a table between two lounge chairs. The Luce floor lamp is described as one of the collection's most versatile items, capable of creating cozy library vibes. It can be positioned next to, behind, or on either side of a sofa, between two chairs, or paired with a side table, offering numerous styling possibilities. Romanek has incorporated this fixture into her own den. Finally, the Luce pendant lamp, which Romanek refers to as a "jewel," features three tiers of bulbs originating from a flush mount. She installed this piece above her bed and also notes its suitability for powder rooms, where the globes provide a complimentary glow, enhancing makeup checks. The collection offers an opportunity for individuals to bring a touch of A-lister-approved style into their homes. #BrigetteRomanek #LightingDesign #ItalianGlam #HomeDecor #MitchellGoldBobWilliams #CurvedFurniture #CelebrityDesign #LuxuryLighting #InteriorDesignTrends

The Ditchling Museum of Art + Craft in Ditchling, England, is currently hosting an exhibition titled "Double Weave: Bourne and Allen’s Modernist Textiles," which aims to reintroduce the British textile company Bourne and Allen, and its founders Hilary Bourne and Barbara Allen, into the annals of design history. Active in the mid-1900s, Bourne and Allen produced a range of iconic woven fabrics, yet their contributions have largely faded from public memory. This retrospective seeks to correct that oversight by highlighting their innovative craftsmanship and personal story. Hilary Bourne and Barbara Allen were partners in both life and business, and their company was known for blending modernist aesthetics with traditional craft techniques. They frequently utilized natural materials and plant dyes, sourcing wools from across the United Kingdom. Their products, which included woven scarves, tweeds, and furnishing fabrics, were carried by prestigious department stores and design houses such as Liberty of London, Heal’s, and Fortnum and Mason. Bourne and Allen also played a significant role in major theatrical and film productions of their era. Notably, they designed expansive stage curtains and furnishing fabrics for the Royal Festival Hall in London, built for the 1951 Festival of Britain. Their work extended to Hollywood, where they produced 52,000 yards of custom-woven fabric for the costumes of 452 actors and 25,000 extras in the epic film *Ben-Hur*. The exhibition, which is the culmination of extensive archival research conducted by a team of ten, delves into the duo’s work, their lives, and their four-decade-long relationship. Various sections of the show explore their distinct weaving techniques, the materials they employed, their global inspirations, their personal backgrounds, and key career achievements. The displayed fabrics, encompassing both swatches and longer lengths, illustrate Bourne and Allen’s unique aesthetic, characterized by bright primary colors derived from natural dyes like indigo (blue), madder (red), and weld (yellow), contrasted with the natural hues of undyed sheep’s wool. The use of Lurex alongside dark yarns and varied weaving techniques such as plain weave, double weave, chenille, ikat, and floats of thick hand-spun yarns, created alluring textures. The exhibition contextualizes Bourne and Allen within a vibrant, women-centered community of craftspeople in England that predated World War II. A display titled “Map of intimacies: Women’s networks of love, friendship, and textile practice” visually charts the collaborative and intimate relationships among the women—friends, lovers, companions, business partners, and sisters—who influenced Bourne’s and Allen’s lives and work. To demonstrate the enduring relevance of Bourne and Allen's legacy, the exhibition incorporates commissions from two contemporary artists, Poppy Fuller Abbott and Omeima Mudawi-Rowlings. Abbott, a weaver from Sussex, created a piece inspired by the mid-century designers' techniques using indigo-dyed linen with silk floats, and also wove textile samples that replicate Bourne and Allen's fabrics for visitors to handle. A film in a dedicated viewing room documents Abbott’s weaving process. Mudawi-Rowlings's site-specific installation, "Drawn to the Light (نور)," features long swathes of silk dyed with plant materials and printed with personal symbols, reflecting themes of interconnectedness and personal identity amidst global events. Ultimately, "Double Weave" serves as a meditation on themes of love, loss, home, and land. It underscores how the act of weaving, both literally and metaphorically, involves intertwining traditions across time and place, fostering a continuous dialogue through generations in the form of fabric. #TextileHistory #MidCenturyDesign #ModernistTextiles #BritishDesign #Craftsmanship #QueerHistory #DitchlingMuseum #TextileArt #ExhibitionReview

This article introduces Shadé Akanbi, a Brooklyn-based freelance pattern designer and the Creative Director and Designer behind Printed Pattern People. Akanbi's design philosophy is rooted in her multicultural upbringing, which has instilled in her a passion for creating global fusion lifestyle and brands. Her work involves translating traditional ethnic patterns and textiles into contemporary interpretations suitable for everyday use. Akanbi's creative process often begins with identifying a specific motif or detail from traditional textiles. This chosen element then serves as the central inspiration, around which she constructs new patterns using fresh colors and additional details. She is prolific in her output, creating between one to six prints daily, drawing inspiration from personal collections, client ideas, or a combination of both. Akanbi is known for her collaborations with various brands, in addition to maintaining her extensive collection of global textiles. Her first major collaboration was with Anthropologie in early 2020, where her artwork was featured in an accessories and sleepwear collection. Since then, she has partnered with notable brands such as Intermix, Zuri, S'well, Chasing Paper, Netflix, and Target. Her most recent collaboration at the time of the article's publication was with Bounty Paper Towels, as part of their Inclusive Artists Project initiative. This partnership involved her artwork being featured on the Bounty Prints collection paper towels and her image appearing on the packaging, an experience she described as surreal due to the widespread nature of the household item. The article highlights Akanbi's ambition and future aspirations. As an avid traveler, she expresses a desire to collaborate with airlines and boutique hotel brands, specifically mentioning Delta, Jetblue, Kimpton, and Hyatt, envisioning these as platforms to showcase diverse art mediums. Her interest extends to athletic footwear brands like Nike, Adidas, Puma, and Vans, reflecting her passion as a sneaker collector. Furthermore, her background as a collegiate basketball player and a fan of the NBA/WNBA drives her dream to work with her favorite sports teams. Ultimately, Akanbi seeks to partner with brands with which she shares strong personal connections, aiming to utilize these collaborations as unique avenues for artistic expression. Her personal history significantly influences her artistic vision. Akanbi recounts how her upbringing, from her mother's styling choices to her father's Nigerian cooking, and her early travels, particularly her first trip to Nigeria, profoundly shaped her as an artist. These diverse experiences, encompassing sights, sounds, textures, tastes, and emotions, have cumulatively impacted her design sensibility. Her ability to blend cultural influences and her innovative approach to pattern design underscore her unique position in the design world. The article concludes by encouraging readers to explore more of Shadé Akanbi's work via her Instagram and mentions a past collaboration where she provided a Designer Desktop wallpaper for Design Milk. #PatternDesign #ShadeAkanbi #TextileArt #CulturalFusion #BrandCollaborations #ArtisticProcess #DesignInspiration #GlobalTextiles #CreativeDirector

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

The article chronicles Vivienne Westwood's visit to Savannah, Georgia, where she received the André Leon Talley Lifetime Achievement Award from SCAD and unveiled a new exhibition of her work at the SCAD Museum. Westwood, known for her distinctive style and strong political convictions, navigated the city streets in five-inch platform boots, wearing a rose-colored toga over a visible black bra, armbands advocating for 'Climate Revolution,' and political slogan buttons. This attire underscores her refusal to be categorized solely as a preserved punk icon, a design legend, a feminist heroine, or a grand dame. Despite her historical association with punk aesthetics involving safety pins and dog collars, her current rebellious and activist spirit firmly establishes her as a lifelong punk, even as her design focus has evolved. Westwood's primary concern during her visit was not her past achievements but her ongoing fight against overconsumption, indicated by her potential plan to condense her four fashion lines into two. When questioned about the initial obstacles in her career, given her working-class background and late entry into the industry without connections, she expressed not having given it much thought. She also rejected the 'feminist' label despite her prominence as a woman helming a fashion business. Her independence in a landscape dominated by conglomerates, she noted, was initially not a goal but a consequence of her inability to secure backing due to her avant-garde ideas. This independence, however, has afforded her complete control over her business, which she values, contrasting it with the pressures faced by designers working under corporate ownership. The exhibition, 'Dress Up Story — 1990 Until Now,' curated by André Leon Talley, spans the last 25 years of Westwood’s designs. It presents a fantastical exploration of her world through various tableaux that blend her creations with art and interior decor. The display features closely packed Old World portraits, towering wigs, striking makeup, and mannequins adorned with dog collars, swinging from chandeliers, and arranged around a state bed and fireplace. Talley described the aesthetic as a 'gluttonous potpourri,' drawing inspiration from British estate art displays and evoking a blend of Vita Sackville-West and Isabella Blow. The show highlights the balance of aristocracy and eccentricity, merging elements like whips and spikes with crinolines and corsets, referencing historical eras from Regency to Edwardiana. Talley emphasized the glamour and joy of Westwood's clothes, asserting their modernity and visionary quality. Westwood's deep knowledge of art history is evident in her ability to identify the inspirations behind her prints, such as a dress featuring a print inspired by Frans Hals's *The Laughing Cavalier*. She also expresses admiration for artists like Gainsborough, Boucher, and Boulle, attributing her understanding of historical costumes to her British heritage and a natural inclination for English tailoring. She avoids typical fashion industry gossip, instead focusing on global issues like Julian Assange, fracking, and political disappointments. Her strong sense of justice extends to seemingly minor details, such as the use of paper versus linen napkins or turning off lights to conserve energy. She advocates for conscious consumption, urging people to 'buy less, buy better quality,' and is even considering reducing her company's size to align with this philosophy. Despite her significant influence, Westwood often self-deprecates regarding her designs, frequently deferring to her husband, Andreas Kronthaler, who is actively involved in the design process. She acknowledges the distinct approach of male designers, whom she believes elevate women, contrasting it with her own practical perspective. Rejecting the concept of a 'role model,' Westwood maintains her punk ethos by challenging societal expectations, emphasizing that fashion is not a sacred entity. #VivienneWestwood #FashionDesign #PunkCulture #FashionExhibition #SCADMuseum #AndréLeonTalley #ClimateActivism #FashionHistory #DesignPhilosophy

Aimee Wertepny, founder of Chicago-based Project Interiors, shares her current design inspirations, highlighting a preference for hand-touched, unique pieces that bring character and soul to a space. Her approach often involves working with local artists and women-owned businesses, focusing on natural fibers and earthy tones to create warm and comforting environments. She believes that layering different textures and materials is key to making a home feel like an embrace. Wertepny's mood board showcases a diverse range of tactile and handmade designs. One key element is the plush upholstery fabric in Ash by Pindler, which she favors for its coziness, durability, and ability to withstand wear from children and pets. Another choice is the Utility fabric in Reclaim Reversible Monochrome by Kirkby Design, a linen fabric with three earthy colors stitched together in a modern patchwork style, notable for its exposed, raw hem. For adding moments of leather, she incorporates the Ardennais Studded Border in Black by Samuel & Sons, a black leathered trim with metal accents. To introduce softness, Wertepny suggests the Shadow Mountain Fur Sample in Cougar by Zinc Textile, a rich chocolate brown faux fur ideal for oversized pillows or throw blankets. Her selection also includes the Frida Wallpaper in Neutral by Relativity Textiles, a muted wallcovering inspired by Frida Kahlo's art, featuring braided snakes. The Khalid KF-02 Rug in Natural/Black by Loloi, a wool rug with an active pattern and braided fringe, has been utilized for various applications, including headboards and bedroom platforms. For dark, moody spaces, she opts for the Island Raffia Wallcovering in Black by Phillip Jeffries, valued for its beautiful, woven organic texture. The Garfield Fabric in Black by Pindler, with its tight weave resembling a basket, provides a well-traveled aesthetic and can serve as upholstery or wallcovering. The Dynamo Fabric in Onyx by Pindler, featuring tufts on a linen background, adds visual playfulness and texture to furniture. Merida Studio's Touro Rug in Black Pearl is a sisal floor covering with suede woven through it and distinctive tassels. Wertepny also repurposes a discontinued woven leather rug by Surya as upholstery for a banquette, adorned with gold rings. The Coven Wallpaper in Mahogany by Maison C. at Solid + Pattern, described as a 'sexy wallpaper' with strong, curvy female figures, is included as an homage to female makers. The Leather Evolution Faux Suede Fabric in Grey by Opuzen is appreciated for its felted backside and raw edges, allowing for reversible use. The Escale Fabric in Beauté Noire by Élitis, a bespoke woven fabric, is suitable for wall upholstery, mimicking a rug with an unfinished edge for layered textural repeats. Ting London's Leather Belt Tile Sample, made from vintage leather belts, offers a unique option for floors or walls, with custom-sizing available. Custom hides by Gina Dorough Surface Studio, featuring shibori and leather, are used as rugs, pillows, and upholstery. For dramatic flair, the Glam Sheepskin in Portobello by Garrett Leather is chosen for its shaggy, untamed quality, ideal for draping over pillows or chairs. The Espresso Reclaimed Wood Floor Sample by Indoteak, sourced from demolished buildings in Southeast Asia, provides a charred, charcoal aesthetic with a rough-hewn yet smooth texture for walls and floors. The Calacatta Viola Honed Marble in 1949 by Calia Stone Boutique serves as a glamorous statement piece, emphasizing marble as 'jewelry from the earth.' For lighting, the Tracer Loop LED Lighting by Luke Lamp Co. offers flexibility in design. Lastly, the Rooftops Fabric in Earth by Oat Studio at Solid + Pattern, inspired by New Zealand architecture, is recommended for dramatic drapery, with a hand-painted effect. #AimeeWertepny #ProjectInteriors #InteriorDesign #MoodBoard #TextileDesign #SustainableMaterials #ArtisanCraftsmanship #LuxuryFabrics #Wallcoverings

Ellen Van Dusen, the designer behind the fashion and homeware line Dusen Dusen, operates from a 600-square-foot studio in Williamsburg, Brooklyn. She moved into this space approximately five years ago, seeking a more interactive and creatively stimulating environment than working from home. Previously, working from home led to feeling isolated and dealing with practical issues like fabric scraps and pins. The studio serves as a dedicated space for her creative endeavors, addressing the challenges she faced in her previous home-based work setup. Van Dusen’s studio is a vibrant display of repetitious shapes, lines, arches, and squiggles, characterized by a bold use of primary colors combined with unexpected hues. The space showcases numerous examples of her brightly colored graphic prints across various products. These include silky dresses, linen jumpsuits, color-blocked jackets, dog beds, patterned throw pillows, graphic bath and beach towels, fruit-printed bed linens, and cozy blankets. Poster boards featuring her most popular prints are also displayed throughout the studio, highlighting the consistent aesthetic of her brand. Despite the abundance of items, the studio maintains an organized chaos. There is a clear sense of order within the colorful environment. For instance, scissors are neatly hung, and books, though seemingly disarranged, are easily located by Van Dusen. She references a book on the principles of geometry, noting its exploration of mathematical patterns, including tessellations—repeating shapes that fit together seamlessly. She observes that some of these geometric principles resemble prints she has independently created, highlighting an intuitive connection to mathematical design. Van Dusen's approach to design is inherently analytical, stemming from her academic background. She has no formal fashion or design training. Instead, at Tufts University, she created her own major, "Psychology of Design," which explored art history through the lens of neuroscience. Her studies focused on how the brain perceives color, culminating in a senior thesis on the use of color by artists Mark Rothko, Morris Louis, and Ellsworth Kelly. Her lifelong fascination with color drives her inquiry into its visual appeal, its role in human perception, and the success of color-centric art. Her interest in art and design began in childhood, influenced by frequent visits to museums in Washington, D.C., and craft projects with her architect parents. This upbringing fostered a diverse range of interests that shaped her aesthetic, which she describes as drawing from many different worlds. As a teenager, Van Dusen began designing her own clothing, using a sewing machine to reconstruct thrift store garments. She often favored bright, unexpected color combinations and graphic patterns, creating her own printed textiles by laboriously sewing patterns onto fabric, as she initially did not know other methods. After moving to New York, Van Dusen received an opportunity to stock her designs in an East Village boutique, prompting her to rapidly learn professional skills like grading, pattern-making, and finishing. She launched Dusen Dusen in 2010, hand-sewing her initial collection from a makeshift workspace in her bedroom. In 2015, she expanded her brand into home decor, including pillows, blankets, bed linens, towels, and pet beds, adapting her clothing prints to different scales for these items. She notes that designing for home decor allows for individual object design, unlike clothing, where fabric patterns are cut from a larger piece. Van Dusen's design process incorporates technology, with her brothers helping her code patterns to generate variations. This method aids in brainstorming and developing new print ideas. However, she emphasizes the importance of unplugging and working with analog methods. Her studio is intentionally divided into a digital workspace and an "analog side" where computers are not allowed, enabling focused drawing and idea generation without digital distractions. Looking ahead, Van Dusen is renovating her home, which is influencing her thinking about larger-scale design. She is also collaborating with a furniture designer and developing upholstery fabric, considering its potential use in both home furnishings and unconventional clothing items. #DusenDusen #EllenVanDusen #BrooklynStudio #ColorPsychology #PatternDesign #HomeDecor #FashionDesign #TextileDesign #CreativeProcess

Julie Paterson, the founder of Sydney-based Cloth Fabric, is an English-born textile designer whose work is deeply inspired by the Australian bush. Her creative process emphasizes the journey and the immersive experience of design. Paterson, who arrived in Australia twenty-five years ago with a textile design degree, initially freelanced, creating European-style designs for manufacturers. However, driven by a desire to produce something uniquely Australian and to challenge the perception that overseas designs were superior, she transitioned to hand-painting and hand-printing fabrics, drawing inspiration from the Australian landscape. Today, all of Cloth Fabric's manufacturing is local, reflecting Paterson's commitment to sustainability and environmental responsibility. She collaborates with skilled craftspeople, utilizing natural fabrics such as high-quality upholstery-grade hemp and linen, which sets her work apart from lighter hand-printed textiles. The fabrics are screen-printed by hand on a thirty-metre-long table in a tin shed, highlighting a low-tech, artisanal approach. The Cloth Fabric retail space in inner Sydney, formerly a prestige car showroom, now showcases a wide array of fabrics, lampshades, cushions, and features a small in-house workroom where piece goods are created. Beyond fabrics, Paterson licenses her designs for wallpapers, rugs, and bed linen. However, her greatest joy lies in collaborating with designers and architects on various projects, which she considers her primary passion. Her studio in the Blue Mountains serves as a sanctuary where she downloads ideas from her notebooks, identifying recurring themes that evolve into lino prints or painting series. These then inform her fabric designs. Paterson's "Natural" collection exemplifies this process, directly drawing inspiration from the Wollemi pine and grey ironbark trees, as well as the bark, stone, and clay found in her Blue Mountains garden and its surroundings. In a further extension of her artistic vision, she has partnered with a local potter to develop a range of clay pieces that complement her furnishing fabrics, offering a cohesive and distinctive interpretation of the Australian landscape. The article was published on March 4, 2014, with words by Deborah Niski, and also appeared in the December 2013 issue of Houses magazine. #JuliePaterson #ClothFabric #TextileDesign #AustralianBush #HandprintedFabrics #SustainableDesign #LocalManufacturing #InteriorDesign #BlueMountains #NaturalCollection

Athena Calderone, a well-regarded visual storyteller and designer, shares insights into how her personal aesthetic influences both her fashion choices and home decor. Her overall style is characterized by a clean, modernist approach combined with a deep respect for classic and timeless details. In terms of interior design, Calderone advocates for an eclectic mix of vintage and found objects, emphasizing that these items, collected over time, tell stories and reflect personal journeys. She values the legacy of antique pieces, giving them new life and incorporating them into her spaces to add narrative, history, and personality. She believes that, much like one's home, fashion is a deeply personal expression of vision, style, and dynamic self, allowing individuals to convey their most authentic selves. Her husband, Victor, a techno DJ, maintains a minimalist aesthetic, primarily wearing black and favoring narrow silhouettes, slim-cut blazers, and pronounced lapels. His focus is on fit and luxurious, tactile materials, with subtle accessories like a gold watch providing a touch of distinction. In contrast, Athena describes her own fashion sense as more adventurous, playing with romanticism, sophistication, and a touch of edge. This contrast in their personal styles highlights how individual preferences manifest differently. Calderone's personal style directly translates into the design of her Greek Revival townhouse in Cobble Hill, Brooklyn. She intentionally curated the home with 99 percent vintage and antique pieces from the 1930s–1970s, predominantly Italian and French. This approach allowed her to blend classic elements that have endured through time with items she could personalize through reupholstery, such as her 1970s Italian Mario Bellini sofa. The sofa's low, loungy profile and plush nude velvet upholstery contribute to a balanced retro yet elevated ambiance. For the architectural aspect of her home, she made the unconventional choice to open up the parlor floor, contrasting with the typical compartmentalized layout of townhouses. Simultaneously, she preserved traditional elements like Greek Revival crown molding, wall paneling, a grand gilt mirror, and a striking black and gold marble fireplace within an otherwise all-white space. Personal touches, such as an elegant green marble head from her childhood, infuse the space with family history and personality. Calderone also uses layering of materials and varying sizes to create visual dynamism within her home. An example is the arrangement of a rustic wood column and an ancient marble fluted pillar in her living room, demonstrating how playing with scale, shape, and placement in decor mirrors accessorizing in fashion. She views both design and fashion as forms of self-expression, where individuals interpret and reflect the world through their unique intuition. She embraces the idea of creating thought-provoking tension by juxtaposing extremes, whether in a highly feminine dress paired with bold boots or a romantic gown contrasted with rugged jewelry. This deliberate interplay of elements is what she believes makes both a space and an outfit smart, intriguing, and balanced, captivating the observer and encouraging contemplation. #AthenaCalderone #HomeDesign #FashionStyle #InteriorDecor #VintageFurniture #EclecticDesign #BrooklynTownhouse #PersonalAesthetic #GucciFashion

The article discusses the launch of Weft, an innovative online platform aiming to revolutionize the woven fabrics industry. Developed by Brooks Hagan, an associate professor of textiles at RISD, and Steve Marschner, a computer science professor at Cornell, Weft provides direct access to manufacturing for custom woven fabric orders, starting from as low as three yards. This platform distinguishes itself from surface-printed fabric providers by focusing on true woven designs, offering a unique service in the market. The project received research support from the National Science Foundation and a Small Business Innovation Research grant, highlighting its technological and entrepreneurial significance. Weft empowers users to personalize their fabric designs by allowing them to select colors, weave structures, and quality parameters, as well as define repeat sizes. This level of customization is particularly beneficial for independent designers working on smaller-scale projects, enabling them to create unique textiles without the high minimum order quantities typically associated with custom manufacturing. Users of the Weft platform have the flexibility to upload their own designs or photographs, integrating personal artistic vision into their fabric creations. Alternatively, they can customize existing designs available on the site. Beyond custom design, Weft also features a curated selection of limited-edition textile designs created by various artists. The article names Stephanie Pender, Kevin Zucker, Julia Dault, John Caserta, and Julian Kreimer as some of the collaborating artists, emphasizing the platform's commitment to artistic diversity. Hagan explains that the selection of artists from diverse fields was a deliberate choice to demonstrate the software's accessibility and utility to a wide range of creative individuals, regardless of their background. This approach aims to democratize access to custom fabric production, making it available to more designers and artists. In addition to custom orders, Weft operates an online shop offering ready-made woven jacquard fabrics. These fabrics are manufactured in the U.S. and include open-source options, further promoting customization. The versatility of these fabrics makes them suitable for various applications, including upholstery, drapery, and apparel, catering to a broad spectrum of interior design and fashion needs. Weft ensures efficiency by fulfilling custom fabric orders through its network of partner mills, boasting a quick turnaround time of as little as three weeks. This rapid production cycle is a significant advantage for designers and businesses seeking timely delivery of specialized materials. #WovenFabrics #CustomDesign #TextileIndustry #RISDInnovation #DigitalLoom #ManufacturingAccess #IndependentDesigners #ArtisticCollaboration