Jocelyn Warner Wallpaper Wisteria Silver Blue

Flowers and plants of all sorts are still really powerful in print, they offer a form of beauty that with the right colourway and printing process can create a mood of tranquility and calm even if the repeat size is on the larger scale. I think ( from a designers point of view) that scanners, digital photography / digital printing has revolutionized the way we look at nature “enlarged” and “close up” dissecting images into pixelated abstracts; very much like when photography first hit the art scene when you had photographers such as Karl Blossfeldt taking purposely styled studies of plants. It made people look up close at texture and form, the same has happened now with designers using new technology, you get the chance to get in close to you subjects and this means you can form a closer relationship, generating a different mood.

The colour and tone you can alter at a click of the mouse has revolutionised design and I think the wallpaper and print we see now on the high street possesses some of the finest design and print qualities for a long time. Considering most of these are designed and manufactured in the UK we should be very proud.

Two of our new papers, ‘Dandy’ and ‘Lace’ have been produced using surface printing, one of the oldest methods around and the one that most closely resembles block printing – the favourite method of William Morris. Surface printing leaves a wonderful hand painterly feel to the paper, adding a richness and depth which can’t be achieved by any other form of production.

Dandy

Lace

For ‘Wisteria’, another new addition to the wallpapers, we are using gravure, another of my favourite printing techniques. It enables us to create a look which is simlutaneously hand-painted and photographic. Clever stuff!

Wisteria

Colour themes for ‘Dandy’, ‘Lace’ and ‘Wisteria’ follow trend directions, think eclectic lemony yellows, turquoise and pinks, shadowy tones for blacks, silver and relaxing blues and a luxurious gun metals. We look forward to showing you more in the next few weeks.

Bauhaus roller-printed cotton furnishing fabric designed by Susan Collier and Sarah Campbell produced by Liberty 1972

Collier Campbell Bird fabric. Another of my favourites showing their painterly approach.

During the 80’s when I was studying textiles at Camberwell their work was thought of as some of the best around as it portrayed a painterly style that was so very lacking in the majority of prints available on the high street, distinctive for its large brush strokes and thoughtful mark making with accentuated textures all beautifully executed into flowing repeats.

As is quite often the case with textile designers their names are not known to many but most of their work would be widely recognisable and commonly found in the British household, from duvet covers and curtains to make up bags and scarves, a Collier Campbell print is iconoclastic of that time.

Do pop down to the South Bank and check out more. The exhibition is on until July 3rd but if you can’t make, have a listen to the interview about their work on Radio 4 Women’s Hour.

Susan Collier. Image courtesy of The Guardian.

Robin and Lucienne Day. Image courtesy of Robin Day

A new exhibition of Robin and Lucienne Day’s work has just opened at Pallant House. As Chichester was the couple’s hometown, this is a perfect place for the exhibition, which draws heavily on a collection of their work owned by H Kirk Brown III and Jill A Wiltse from Denver, USA.

Seeing such big pieces of original fabrics is great. You can really feel the quality of the cottons and linens which in those days were less heavily treated. Being left in a more raw state, the fabrics seem more substantial than ours nowadays. In terms of the size of her repeat patterns, Lucienne worked at a much larger-scale than her forbears and I think that’s what gives her designs their modernity. Looking at them this weekend they appeared as crisp and fresh as in the ‘50s and ‘60s. All the greats are in there, including Rock Rose, Runic, Linden (which my mum and dad had in our house when I was growing up!) and Flotilla, the pattern that Lucienne apparently thought came closest pattern to a painting.

Flotilla, 1952, Screenprinted cotton, rayon and linen. Image courtesy of Classic Textiles

Small Hours, 1951. A lovely navy and salmon pink screenprinted cotton. Courtesy of the collection of Jill A. Wiltse and H. Kirk Brown III

The exhibition also features Robin Day’s timeless furniture and his brilliant radios including the 1108 for Pye, which won a Design Centre Award in 1966.

Robin Day sideboard for Hille, 1949. Courtesy of Target Gallery, London

Model 1108 radio for Pye by Robin Day. Image courtesy of the Science Museum

Hand-in-hand with the Day exhibition is A Tonic to the Nation: The Festival of Britain in Pallant House’s De’Longhi Print Room. It marks the 60^th anniversary of the Festival that the Days’ were heavily involved with. It features souvenirs, posters and memorabilia.

A Tonic to the Nation is on until 8th May and Robin and Lucienne have taken up residence until 26^th June.

Thanks so much to Design*Sponge for the feature.

Something from my toolbox!

The magnificent castle in Mariefred

It was -20 degrees and very snowy!

Back in the city, I have been a huge fan of architect, designer and artist Josef Frank since my degree days at Camberwell and so a visit to Svenskt Tenn was a ‘must do’. This time was better than ever as they have temporarily re-located whilst renovating their original store and currently running a pop-up shop in an old Art Deco cinema , the Astoria which is amazing!

The exterior of the Astoria Cinema

Interior which has made a feature of the original screen

The Astoria is a great setting for all the products; the stage houses some huge sofas upholstered in the newly launched Josef Frank ‘Marble’ velvets, influenced by the work of Jackson Pollock which he first saw in New York. Have a look at this animation of the Marble 4420 print:

Marble 4420 by Josef Frank. Motion graphic designer Mika Pollack

Where the audience seats used be has been left pretty much as it was (but with the seats removed obviously!) and is eclectically styled. You have to keep reminding yourself that Joseph and Esrid Ericson produced these pieces over 50 years ago because it looks so of the moment right now.

As you can tell I really, really loved this current shop. It seems to have transformed the Svensk Tenn look, generating a younger feel. I hope they keep it alongside the newly refurbished store. And can we have one in London please?!

Another totally awesome visit was the Nordiska Museum housing Swedish trends and traditions.

I could have spent all day here and will definitely visit again. The folk art rooms are lovely, an artform that blossomed in Sweden during the 18^th and 19^th centuries. They have everything from knitted socks to beautiful Swedish furniture on display.

A detail of decorative folk art

Hand knitted socks

Elsewhere is the Nordiska’s interiors section with room sets of each Swedish home setting rather like a cross between our V&A and the Geffrye Museum

One of my favourites was the Table Settings exhibition which is really beautifully put together in little room sets featuring settings from 16^th century to 1950’s Here I have taken a few snaps (as they are behind glass they are a bit blurred but some how that makes them look more authentic I think!)–highlighting food and drink and the customs and traditions linked to meals .

Florals were a strong presence again, described as ‘bucolic’ at times, other times they were more painterly. There was a dominance of tropical motifs (either palm trees or parrots!), tribal/ethnographic prints and geometric patterns.  In terms of colour, there were loads of really modern-feeling warm brights, sometimes perhaps inspired by Pop Art and Jackson Pollock. Edges of fabrics were often frayed, scalloped or laser cut in ways to deliberately enhance the qualities of the material.

Fruit has been an emerging trend recently (see Stella McCartney’s lemon print dress below) and featured again, mostly lemons, strawberries and cherries but sadly on fabric, these don’t count towards your 5-a-day.

Citrus print dress by Stella McCartney.

Another growing trend that we’ll still be seeing a lot of this winter and next spring is sequins. Prada featured them in its forthcoming winter collection, large and like fish scales!

Extra-large sequins featured in Prada's Autumn/Winter 2011-12 show. Image from Vogue.com

At Premiere Vision there was a real sense that fabric manufacturers are continuing to experiment with sequins even more in terms of how they are applied and the possibilities of combining them with other techniques and materials.

The best thing about Premiere Vision is that it’s an opportunity to see first-hand what the very best manufacturers are doing and check out the newest innovations and creative technologies. My favourite of the show was Jakob Schlaepfer. Two of their fabrics particularly caught my eye. One was a layered piece with a butterfly print layered onto chiffon with scalloped sequined edges.

Trying to capture the intricate and delicate Jakob Schlaepfer fabric in my sketchbook!

The other was covered in white sequins that were reversible by touch. On the back they were digitally printed with a floral pattern. It’s hard to describe but it was really amazing. Here are a few images:

Visitors to Premiere Vision play with the reverse print sequin fabric. Image (c) Jakob Schlaepfer

Detail of one of Jakob Schlaepfer's intricate fabrics. Image (c) Jakob Schlaepfer

Another 'haute' fabric by Jakob Schlaepfer. Image (c) Jakob Schlaepfer

This was our first time exhibiting at Éditeurs, a key part of the show. As you may may know, Maison & Objet is huge. Using all 8 of the exhibition halls at Paris Nord Villepinte, it caters for every type of buyer from wallpaper, table tops, bed linens, furniture, accessories to artificial flowers and stuffed polar bears… yup there were 2 at the show amongst stuffed penguins and owls (remember taxidermy is a growing trend after all!)

I wanted our stand to have a ‘one off ‘ sort of feel, more like an eclectic retail store than the flat walls of the normal exhibition spaces. We managed to make the table out of some beautiful mahogany wood that was salvaged from a science lab (still had the holes for the Bunsen burners!) which we put onto a pair of old builders’ trestle legs, with a shelf underneath for rolls of wallpaper and storage for the fabric and wallpaper books.

I got some hazel wood ladders made so that we could hang the wallpapers in roll form on each step…

…and managed to find a scaffolding rack on wheels from a flea market that lent itself very well for displaying and draping fabric over:

Also from same flea market I found some lovely old wooden fruit crates, which were perfect for storing the newspapers we’d had printed for the show. We then had the beautiful vintage sofa upholstered in Flora Graphic and the mid-century chair in Treetops Blue placed along the sides with the Bloom rug bringing colour to the floor as the final touch.

We got some great feedback with many people commenting on the “calmness”, “softness”, “soulfulness” and “uniqueness” of the work and that showing it in this way had helped them to interpret the designs on more a personal level. Which was great as that’s exactly what we wanted to get across: something timeless mixed with modern creating a unique look! Hope you like the photos. If you came to see us, thanks so much and thanks also to Design Sponge for the article!

Two firsts are happening: this will be our first time exhibiting at this show which, for anyone that has been, will know it’s huge and covers practically everything for interiors.

The second first (if that makes sense!) is the launch of our first fabric collection which I am absolutely delighted about. It is so great to be back working in textiles again.

As with our wallpapers the fabrics are British-made and have the Jocelyn Warner signature colourways and design scale. Produced on a beautiful linen fabric they have a sense of natural yet sophisticated style that fits very well with the urban chic lifestyles that we see so much of today. Below is a preview of what we’ll be showing but if you’re coming to Paris, pop by our stand to say hello and see for yourselves!

Blossom

Leaf

Treetops

Flora

Flora on a sofa!

In the run up to the show we put together a little newspaper as a giveaway at our stand  – more about this next week when we blog from the event itself. For now, here’s a peek, hot off the press:

A stack of our newspapers which just arrived

Just one of the interesting prints from the current Miu Miu collection

You can watch the fashion on YouTube

A fashion moment from the Miu Miu Spring/Summer 2011 catwalk show

Here are a few snap shots I took whilst at the printers:

The 'Treetops Birch' screen on the flatbed

'Blossom' being checked

Me and Tony doing the glasses test

Samples of 'Flora'

Now that the production is underway we’ll be getting stuck in to organising the fabrics’ launch which will be in Paris at Maison et Object in January 2011. Come and say hello if you’re there!

This was The Tramshed’s first year and it was great. Our friend’s BCMH were showing within the Them There section. They’ve recently completed the graphics for ‘Speed and Light: Edward Gordon Craig’, a new show at the V&A.

Them There also included Cristian Zuzunaga who is building up a reputation for exciting collaborations (with Kvadrat, Ligne Roset and Hästens amongst many others) and particularly for his brightly coloured, giant pixel prints. They’ve been applied to bags, scarves and even a sofa, which was produced with Moroso:

(c) Zuzunaga and Moroso

Elsewhere in the Tramshed I spotted Luke Pearson giving a talk, Michelle Mullins’ gorgeous cushions and Rare’s ‘digitally crafted surfaces’;  lovely textures created for wall panels. Furniture makers Benchmark practically re-located to London and installed a functioning workshop:

The Benchmark craftsmen hard at work

The most noticeably recurring trend was for fabrics that felt very luxurious and soft, yet weighty at the same time – whether cashmeres, silks, shearling or boiled wool. And there seems to be less and less separation between textiles for interiors and fashion.

There were lots of surreal, fairy-tale inspired prints – artist Frederique Morrel combines this with another trend; tapestry.

Image © Frederique Morrel

She also has an exhibition on at the Galerie Chevalier where she’s using 18^th and 19^th century tapestries to create a series of animals, if you’re in Paris, I’m sure is worth seeing.

The inspiring thing about Premiere Vision is seeing the key themes brought to life in huge styled and curated spaces. These included ‘Disruptive Weaves’ (tight yet soft textures), ‘Deceptively Austere’ (antiqued looking super-soft boiled wools), ‘Luxurious Heaviness’ (faux fur and satins), ‘Fierce Softness’ (strong velvets) ‘Natural Knop’, ‘Beyond Tradition’ (contemporary, sculptural lace), ‘Strange Nature’ (spooky, leaf-less trees) and ‘Zoo’ (bizarre monkey and bird imagery)

Last time I was there, blues were a key colour and they’re still very much in evidence, especially turquoises – often combined with yellows and golds, and sky blues. The other colour that seemed to pop up a lot was a burnt orange as well as misty pinks and reds. A palette called ‘Candied Fruits’ summed this up. Here’s my take on the new colours, which I’m thinking of exploring:

A palette of colours I'm playing with