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Texprint alumna stories: Cherica Haye, designer, Rolls-Royce Bespoke

17 April 2017 by Roger Tredre

Cherica Haye, a Texprint designer in 2013, now creates beautiful car interiors for Rolls-Royce.

She’s a designer who specialises in material makeup and innovation for the luxury goods sector. Cherica Haye, who initially studied textiles at Central Saint Martins, became interested in the sector while building a portfolio of conceptual textiles for carmakers at the Royal College of Art.

After Texprint, Rolls-Royce design director Giles Taylor invited her to join the bespoke division of Rolls-Royce, the studio of designers and artisans who create the marque’s most prestigious custom models.

Her work includes the Serenity Phantom, displayed at the 2015 Geneva Motor Show, and praised by CNN as “the world’s most beautiful Rolls-Royce”. The interior of the Serenity Phantom was upholstered with pastel green raw silk, sourced from Suzhou, China and woven in the UK. Flowers referencing Japanese royal robes and chinoiserie were embroidered and hand-painted. Simply beautiful.

Cherica reviewing material finishes at the Rolls-Royce studios

Tell us about how you came to work for Rolls-Royce Bespoke.

At my RCA Graduation show in 2013 I was introduced to Giles Taylor, and had the opportunity to present my work to him and talk him through the conceptual thinking behind it. Mr Taylor took my details and about a year later, whilst working for Lululemon in Vancouver [Cherica had won a Lululemon Texprint Award, which included a three-month internship], an opportunity became available for me to join the Rolls-Royce colour and materials team. I started in Goodwood in July 2014.

Where is the studio based, and how many designers are in the team from what kind of backgrounds? 

The Rolls-Royce Bespoke design studio is set in in the beautiful West Sussex countryside in Goodwood, England. Goodwood is the home of Rolls-Royce, where every car has been handbuilt since 2003. Bespoke design is currently home to a team of 20 designers, including one intern and two bespoke design engineers. Each designer brings specialised expertise to the team in a variety of fields, not just from the world of automotive design.

Embroidered and hand-painted detailing

Rolls-Royce (and you) received some excellent publicity for the Serenity Phantom shown in Geneva in 2015. How did that come about?

The Serenity Phantom was one of the very first projects I worked on when I joined the team in Goodwood. It was incredibly exciting and not at all what I expected! I was really amazed at the possibilities we had at our fingertips at Rolls-Royce, and how some of our customers trust our taste to the extent that we have almost a free reign on the design, layout and aesthetic. With Serenity, the head of Colour and Materials at the time really wanted to create something exceptional to elevate the brand and enchant our patrons. My background in textiles and as a weave designer/maker fitted perfectly to the one-off nature of this project, as I am used to making unique, one-off materials to suit each client.

Serenity introduced a completely new level of individualised luxury to a modern Rolls-Royce. We were inspired by the amazing interiors of elite Rolls-Royces of the past, where leather was seen as a more functional material, and high-end bespoke fabrics and silks were seen as the ultimate luxury. We felt inspired to share this heritage with our customers in a very modern, contemporary way.

Interior of the bespoke Serenity Phantom shown in Geneva 2015

You studied as a textiles designer at CSM and the RCA. What are the additional skill sets you need to design car interiors?

Along with a strong knowledge of materials, fabric construction and design, a good working level knowledge of how to use the Adobe suite of programs (Photoshop, Illustrator) will really help you visualise your ideas quickly and effectively. You also have to be prepared to learn a lot about the additional factors in addition to design that affect a car interior – safety, construction and durability all play a part.

Has your own design aesthetic evolved since you left the RCA?

I would say so. I think I have become more of a perfectionist with a much more intense attention to detail.

Where do you find your inspiration?

My background in fashion naturally means that couture is a big influence, but I also find inspiration in nature and architecture. I especially like using them together. I find that the juxtaposition of these subjects brings unexpected beauty. 

So how would you bespoke decorate a Rolls-Royce for yourself?

I would have everything Bespoke. Come to think of it, I would probably create a car from the ground up, because for me a Rolls-Royce is a work of art and should be passed down from generations to generations like one-off couture garments. 

To start, the model of my choice would have to be a Phantom bespoked with a one-off exterior two-tone paint, which has paint technology that allows the paint colour to do a complete shift from one colour to another when seen at different angles. The colour palette is inspired by the vibrant natural world of the tropics and my travels.

For the interior, I would have all the seat front tailored with layered woven silk. The seat backs and the driver’s seat would be colour matched to the fabric and covered in leather. The interior environment would be complementary to the exterior, adding considered colour/material breakup throughout that tell an authentic story.

And to finish, I would most definitely add Rolls-Royce signature starlight headliner (the headliner features a series of fiber-optic lights mounted inside the ceiling of the car, the design of which is unique to the owner, and looks like star constellations in the sky).

Interior of the bespoke Serenity Phantom shown in Geneva 2015

 

 

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