Texprint 2016 at Première Vision Designs
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31 August 2014 by Editor
Nino Cerruti heads the Biella-based textile mill Lanificio Fratelli Cerruti. Founded by his grandfather in 1881, Nino Cerruti took over the business at the beginning of the 1950s, but is more widely recognised for the international success of his menswear fashion brands, Hitman and Cerruti 1881. He was the first designer to send men and women down the catwalk in the same clothes in 1968 and went on to create designs for a long list of celebrities and iconic Hollywood films including Wall Street and Basic Instinct. We talk wool, embarking in the textile industry and the role of judge with the master of cloth:
Your expertise as a fashion designer and creator of textiles will be absolutely invaluable to the Texprint designers when you meet them at Indigo in September 2014. Do you think that the work of textile designers is overlooked?
The work of people who work in textile design changes dramatically from the moment in which they join a company. When you work for a factory, you have to work to the ideas of the factory. And if you can bring a contribution then it might be a personal one. So there is a necessity that you lose some freedom. Personally I think that product development work should come from two professional perspectives; that of the designer and the merchandiser. There is a necessity of developing ideas, of looking around, but you are developing the ideas of a company, not purely your personal ideas.
Do you think it is important that we support new textile designers?
Every profession that believes in itself supports the next generation. Certainly the textile world has been under incredible stress recently and so faith in it has been weakened by doubt. Textiles has a faith, as it is so close to our bodies, to our daily lives, that it deserves more consideration than other consumer goods. It’s nobler than consumer goods, but it suffers the same diseases.
As a prize judge what are you hoping to see in the work of the 24 designers? What excites you in textile design, is it use of technology, use of colour, texture, drawing, skill or…?
I will try to judge in a balanced way, based on what I think can be useful for a person that joins a company and brings in the breath of youth. I think it is important to say that a piece of fabric is the result of several phases of the process. Like in medicine, you have various specialists – in spinning etc – in certain areas, but you still need the generalist that covers the entire process. It takes a long time to prepare people with this kind of knowledge, but it is important because otherwise you miss a point. You need generalists in textiles also.
What is it about wool that you love?
Wool is made by God. Nylon is made by humans. The artist is of a higher class.There is something more to wool. When we are born we are surrounded by wool. When you think of wool, you think of warmth, of family, of mother, in an intimate kind of way. It is probably inherited in our genes - at least in my generation. I believe wool is in danger – it is always associated with heritage, which is nice and tender, but it does not stimulate any enthusiasm. In today’s society there is a sin that is unforgivable, which is to be old. Wool needs to be reconsidered as something young and fresh. If you ask people if they think wool is cool they will look at you as if you are stupid. It needs to be promoted with seduction, which is very different. I am not sure if the iPad generation will still love wool in the same way?
26 August 2014 by Roger Tredre
This is the story of how a 35-year-old graphic designer from Hartlepool decided to rethink his life – and how Texprint helped him make it happen.
Andrew Boyd was in his mid-thirties when he came to the conclusion that his career had worked out the wrong way. He was working as a graphic designer for a company in London and earning a reasonable salary. The problem was that he received no creative satisfaction from what he did.
Over time and after considerable reflection, he decided on a radical and courageous solution – to return to basics, to rekindle the interests and skills of his childhood, to get back to when he was the boy at the back of the maths class ignoring what the teacher was saying and just drawing, always drawing.
So he told his employer and friends that he was moving back to his home town of Hartlepool to do precisely what he wanted to do. From now on, there would be no compromises. His friends admired his courage, although some told him he was crazy.
Home again in the north of England, Boyd enrolled at the Cleveland College of Art & Design in Middlesborough to study for a BA in Textiles & Surface Pattern, mowing lawns in his spare time to pay his way. As he approached graduation, he had no thought in mind other than to set up his own studio in Hartlepool and work through his creative ideas in his own time.
But then – and much to his surprise and with the support of his tutor at Cleveland – he was selected to be one of the 24 designers for Texprint, showing initially in London at the annual Texprint event and then moving on to Paris for Premiere Vision, where all 24 designers exhibit at the Indigo show-within-a-show.
Andrew Boyd's world was about to turn upside down. "Everything changed for me. The quality level at Texprint was just incredible. When I went to Paris with Texprint, I sold something like 12 pieces. In fact, I had already taken a first order in London from Jaeger for £200. I couldn't believe it – I almost gave another one away! Money was not the driver for me. It was the excitement of being appreciated at this level. In fact, the level of all the Texprint work was really impressing people in Paris. Visitors were saying our work was far superior to the commercial work here.
"And then I was approached by Luigi Turconi of Texprint sponsor Ratti on the stand in Paris. He asked me directly, do you want to work in Italy? I said I would love to, once I had been to Hong Kong with Texprint. A few weeks later, I was in Italy."
Established by Antonio Ratti in 1945, the Ratti Group is one of the leading manufacturers in the international luxury textiles industry. After nearly 70 years in the business, Ratti has developed a business that covers the entire finishing cycle of silk and other natural fibres, working with many of the world's leading design houses. For a designer, working at Ratti is about as good as it gets.
Angela Caccia, head of Human Resources at Ratti, says the company appreciated his skill sets immediately: "He was really good creatively. He worked in the design studio and the freeness of his designs was very well received. He had the capacity to express his creativity."
Within months, Andrew Boyd's work for Ratti had caught the eye of leading American fashion designer Marc Jacobs, then responsible for the Louis Vuitton womenswear collection. Before Boyd had barely adjusted to life in Italy, he was working on print development for Louis Vuitton, his designs appearing in the Louis Vuitton A/W 2011 collection.
Louis Vuitton A/W 2011 collection
Boyd had proved that individual creativity, given talent and determination and the right support, can find a market – even in the fiercely competitive modern marketplace.
Louis Vuitton A/W 2011 collection
Since then, he's become even more determined to pursue his own route. The relationship with Ratti has continued but Boyd has now returned to Hartlepool, not least so he can work as a freelance at his own pace and with complete creative freedom. "It was full on at Ratti. When I came back from Italy, I was empty."
He says: "I now have my little studio where I potter away doing little sketches at my own pace. I don't like commitment or barriers. I want creative freedom, which I can only get in Hartlepool."
Andrew says of the starting point of a recent project: “All of the prints are taken from a peg board from a local diy shop...I used a roller to cover them in emulsion paint and used a very light weight tissue paper as I wanted the prints to crease. I am curious to know how the creases will react with on another, hopefully they will start to come to life when I get my screens back and start printing onto fabric using a variety of resist techniques.”
He remains hugely grateful to both Texprint and Ratti (we spoke to him at Texprint 2014, with the team from Ratti also with us). "Texprint gave me the platform to introduce me to people. I've seen my work on beautiful, expensive fabrics. That's a great incentive. My continual challenge to myself is to see if I can reinvent a fashion classic. Spots, stripes, checks. I like that challenge. The classics reinvented, making them fresh, making them new."
Boyd's route to creative happiness isn't for everyone, but he is unrepentant. His message to new generations of Texprint designers is simple and uncompromising: "Stick to your thinking. Be confident. Believe in what you do. That's the way you get picked by Texprint in the first place. That's why you're here. Don't budge."
03 August 2014 by Editor
New to the Texprint programme for July 2014 was a visit to the Clothworkers' Centre in west London, the most important national and international centre for fashion and textiles.
Based at Blythe House, the newly restored building brings the V&A's extensive textiles and fashion collection together under one roof, providing appropriate storage to enhance the long-term care of the collection, and providing facilities for conservation, storage, research and education. The V&A holds one of the most important collections of textiles and fashion in the world, ranging from archaeological textiles to contemporary street fashion and haute couture.
Guided by lead curator Edwina Ehrman and colleagues, the 24 Texprint designers were shown around the lofty and rather daunting corridors and conservation studios of this extraordinary building, completing the tour with a special presentation of key textile pieces laid out for inspection on the huge tables of the spacious public study room.
Dress worn by HRH Queen Elizabeth II, designed by Sir Norman Hartnell
Silvered leather dress designed by Gareth Pugh
Once the headquarters of the Post Office Savings Bank and originally designed by Sir Henry Tanner between 1899 and 1903, the sensitively designed restoration of this Grade II listed building was carried out by architects Haworth Tompkins Architects.
The corridors are lined with free-standing and rolling archive cabinets which incorporate 500m of hanging space and more than 7,000 drawers. Each of the over 104,000 items meticulously labelled and logged. The upper floor houses the conservation studio, washing and dyeing rooms.
The project to create this state-of-the-art facility was funded by a grant from the Clothworkers’ Foundation (also Foundation Sponsors of Texprint) augmented by additional support from other sources, and forms part of the V&A’s ambitious FuturePlan, which is turning spaces previously used as storage into public galleries.
The Clothworkers' Centre is located at Blythe House, at Olympia in West London, and is open by appointment to visitors and groups who would like to study and research objects in the textiles and fashion study collections.
29 July 2014 by Roger Tredre
Job opportunities for young textile and print designers look set to improve thanks to a new partnership between government and industry supported by Texprint.
The new initiative, backed by the UK government, could be hugely beneficial for young textile and print designers seeking to launch their careers.
The concept works like this: The government will provide funding for up to £183,000 to Texprint over the next two years, with roughly half of that money allocated specifically for a paid internship scheme for up to 20 designers.
For each designer, the government will contribute £4,750 on condition that the sum is matched by the employer. That means subsidised internships worth £9,500.
The concept is known as the Employer Ownership Pilot Round 2 (EOP2), a rather unwieldy title that disguises the bold and important nature of the initiative. The UK government likes to point out that the UK creative industries generate £71bn in revenue each year and support 1.71m jobs. Business Secretary Vince Cable says: "The creative industries play a key role in the UK economy."
Designer Emma J Shipley, a high-profile alumna of Texprint, says: "This is fantastic news for Texprint and means they’ll be able to offer even more support for talented textile graduates. Internships are one of the best ways of starting out in the industry and it’s also a huge opportunity for businesses to benefit from the very best in new textile design talent.”
Shipley found herself hobnobbing with government ministers at the high-profile launch at Channel 4 on July 14. The ministers were a little nervy – jumpy even. There was an explanation: Prime Minister David Cameron was in the middle of his Cabinet reshuffle. That's why Ed Vaizey, Culture Minister, and Matthew Hancock, Minister for Skills & Enterprise, were never far from their mobile phones while they waited for updates.
We learned later that both 'survived' the reshuffle – indeed, they prospered. Vaizey's role has been expanded to include digital industries, while Hancock has celebrated a promotion to Minister of State for Business, Enterprise and Energy.
That they took time out on the eve of learning about their new roles emphasised the importance of the initiative, which they have both championed. David Abrahams, chief executive of Channel 4, which is leading the project of behalf of over 400 creative industry partners in the scheme, explained that the initiative is creating internships right across the creative sector. "It's a fragmented set of industries that has [previously] struggled to speak to government with one voice... This is the largest collaboration ever achieved across the creative industries."
David Abrahams, chief executive of Channel 4
Now Texprint is reaching out to companies right across the textiles sector to support the initiative. Barbara Kennington, Texprint chairman, said: "We're very pleased that the value of textile design has been recognised by Create UK... Over the next two years up to 20 design graduates will be matched with both UK and international manufacturers and retailers to expand their hands-on experience of the industry."
At the heart of the initiative is a collective desire to see the widest diversity of young textile design graduates develop careers in the industry. Overnight success is not on offer: it's about enabling designers to gain a foothold in their chosen career. Government minister Matthew Hancock acknowledges that the first step in a career is always the toughest. The transition from university or college to work is exceptionally demanding. "It's hard to get a job without having been in a job."
25 July 2014 by Editor
Texprint’s 2014 programme of new designer support began in London earlier in July with the interaction between 24 highly talented new textile designers and experienced industry professionals who had the tough, but hopefully enjoyable, task of selecting the very best of the best Texprint Award winners for Pattern, Body, Space and Colour.
The judges were: Sarah Campbell, co-founder of the influential print design partnership Collier Campbell; Jill Chatwood, director of design at activewear company lululemon athletica; Eifion Griffiths, owner and director of Welsh weaver Melin Tregwynt; George Graham, chief creative officer and co-founder of design retailer Wolf & Badger; and Sue Roberts, design director, home, of department store group House of Fraser.
The selected nominees are:
Pattern Award, from left: Charlotte Beevor, Beth Humes, Jane Han Zhang
Texprint Pattern Award
· Charlotte Beevor, print, Leeds College of Art (BA)
· Jane Han Zhang, print, Royal College of Art (MA), London College of Fashion (BA)
· Beth Humes, weave, University of Brighton (BA)
Body Award, from left: Jonny Luke Wadland, Tali Furman, Federica Tedeschi
Texprint Body Award
· Tali Furman, print, Royal College of Art (MA), Shenkar College, Israel (BDES)
· Jonny Luke Wadland, knit, Winchester School of Art (BA)
· Federica Tedeschi, mixed media, Royal College of Art (MA), Central St Martins College of Art & Design (BA)
Space Award, from left: Georgia Fisher, Kaila Cox, Aline Nakagawa de Oliveira
Texprint Space Award
· Kaila Cox, print, Royal College of Art (MA), Central St Martins College of Art & Design (BA)
· Georgia Fisher, weave, Royal College of Art (MA), Central St Martins College of Art & Design (BA)
· Aline Nakagawa de Oliveira, weave, Central St Martins College of Art & Design (BA)
Colour Award, from left: Jessica Hymas, Charlotte Beevor, Beth Humes
Texprint Colour Award
· Jessica Hymas, knit, Royal College of Art (MA), Central St Martins College of Art & Design (BA),
· Beth Humes, weave, University of Brighton (BA)
· Charlotte Beevor, print, Leeds College of Art (BA)
The four prize winners will be announced at the Texprint prize ceremony, which will be held in the Texprint area of Indigo, part of Première Vision Pluriel, on September 17, 2014 at 3pm. Each will receive £1,000, sponsored by Liberty Art Fabrics and âï¿½¨The Clothworkers’ Foundation.
21 July 2014 by Jainnie Cho
We talk to Jill Chatwood, Design Director of lululemon athletica, the Canadian athletic apparel company dedicated to making functional and equally beautiful clothing for proactive, optimistic modern women.
At lululemon athletica, customers are “guests” and store employees, “educators”. Since its founding more than 15 years ago this unorthodox approach to business and fashion has helped put lululemon on the map as the ‘go to’ innovative and fashion-led athletic apparel company. “I’m passionate about bringing together art and athleticism. These aren’t areas that people generally put together but athleticism is a form of art and art can be athletic and dynamic too,” said Jill Chatwood, design director of the Canada-based company, specialising in yoga-inspired clothing.
It’s this focus on design that is both original and commercial that drew lululemon to both sponsor Texprint and create the lululemon Texprint Internship Award, acknowledging creativity and the need for industry experience; it is also what drew Chatwood to become a judge for Texprint. “[Texprint] was always the area at Indigo/PV in Paris that had the most exciting stuff… the most exciting raw work unconstrained as yet by the garment industry”, she recalled of her first brush with Texprint.
Dennis “Chip” Wilson founded lululemon in 1998, amidst the yoga boom of the late 1990s and increasing female presence in sports. Starting from one shop in Vancouver, Canada, including a design and yoga studio as well as a retail store, the business expanded rapidly. It now has around 200 stores, mostly in North America, with a new store in Covent Garden among other locations. In 2009, the company launched a subsidiary, Ivivva Athletica, a dance and gymnastics clothing line for young girls aged six to 12.
Each lululemon store is a small universe onto itself. Store managers are much more than just managers – they decide the store’s look, from layout to colour, and control what kind of events they hold. “It’s important for us to make sure that not only are we a big brand with multiple stores but that each store is its own little micro community,” said Chatwood, who joined lululemon as a store employee in 2003.
Nurturing young design talent is another passion lululemon shares with Texprint. This winter, the company is set to launch a line of specialist cycling jerseys designed by Texprint alumna Florence Colson, one of two designers to win the lululemon Texprint Award in 2013. We sat down with Chatwood to discuss innovations in athletic wear, her interest in artful yet functional design, and the brand’s future product focus.
Jill with lululemon Texprint Internship Award selected designers; Charlotte Beevor (left) and Federica Tedeschi (right)
What drew you to become involved with Texprint?
The more I learnt about Texprint, the more it connected with what we believed in from a design perspective. Three years ago we decided to get more involved and sponsor Texprint and now we benefit, as the quality of interns we get from Texprint is unparalleled.
What is great textile design, or great design in general?
Great design is design that brings together beauty (colour and print) and function. I think both qualities have to live together in harmony, particularly in the world of modern sportswear where a garment can’t be just beautiful or useful. Form too has always been as important as function, so we can’t have something that doesn’t function for the sake of form. I think that the combination of these elements is where great design exists.
Designer Ailis Dewar shows her work to Jill and colleague judges
When did you start your relationship with lululemon?
In 2003, straight from design school - they had just opened up a store in my neighbourhood in Toronto and it was maybe only the third or fourth store at that time. I went from working in the store when I was going to school, to immediately joining the design team. It was such a good foundation - I just worked hard and did everything, from quality checks to product design, fabric and trim development.
At that time we had a tiny team of designers. Our whole company was founded on young, entrepreneurial designers, all coming together for a common goal. And this is one of the things we love about Texprint - we really love to support and nurture the energy of young, up-and-coming designers because they are the future.
What made you identify so strongly with lululemon?
The lululemon company ethos was something very original that hadn’t been created before. A modern yoga company didn’t exist before lululemon, or such a female-focused athletic brand - that was the new thing - it was really nice to see a brand emerge that was active and focused towards women. Being able to marry fashion with the active lifestyle was something that really excited me and the more I learnt about technical fabrics, the more exciting it became. To me it had so much more substance than just designing another evening gown or something like that.
What is your key focus when designing for the brand?
What excites me the most is being able to bring new ideas to the market that make people’s lives easier and better, these are also the challenges. Take safety for example - we’ve used reflective ink, yarn and fabric, all in different ways so that we can make our guests safe but in a beautiful way. Most athletic companies just put a reflective stripe down the sleeves and say, “There you go – now you’re visible”, we’ve worked hard to integrate safety and function in a more beautiful, subtle way.
Looking forward one of our goals has been creating print that feels more handmade than computer-generated - designing prints with personality and feeling, made by human beings, with love.