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Meet the judges: womenswear designer and consultant Madeleine Press

05 September 2013 by

Texprint’s selection process is dependent on the generosity of industry members who take a day out of their work schedules to give professional guidance to the new designers under scrutiny for a coveted place on the mentoring programme. The same is true of the prize judges who spend an intense afternoon reviewing the work and interviewing the 24 designers who are in line to receive one of Texprint’s four awards for Body, Space, Colour and Pattern. Texprint was delighted that womenswear designer and consultant Madeleine Press was able to join the prize judging panel this year.

“Texprint is a great launch pad for new designers as they emerge from college - this time is both daunting and exciting for them. They will meet a broad selection of industry professionals who will view and talk honestly with them about their work. It is a great opportunity to have that experience before they go into the workplace and have to explain themselves,” says Madeleine. “It gives them a competitive edge, to not only compare themselves against their peers at college, but with the cream of the crop. The selected designers also have the opportunity to show at Indigo / Première Vision - to have that experience is amazing.”

Madeleine reviewing the designers' work

Madeleine brought to the judging process her commercial nous and an expert eye: known as a versatile womenswear designer with a deep technical understanding, she has also been regularly sought after as a knitwear specialist. Trained in Fashion Design with a print specialism at Ravensbourne, Madeleine has created women’s ready-to-wear collections, outerwear and denim lines, but is actually completely self-taught in knit design. “I spent an enormous amount of time in factories to learn what I needed to know. I come at it thinking, ‘what techniques can I use to create the garment I want?’ rather than just making a garment with two arms.”

On leaving college, she says: “The first bit of mass manufacturing I did was for an Elle reader offer, I had to source and arrange production of 500 skirts. I quickly became used to working on a big scale.”

Since then, Madeleine has had a wholesale brand, Press & Bastyan, which became a retail chain, and then her own eponymous womenswear designer brand, Madeleine Press that was a regular exhibitor at London, Paris and New York Fashion Weeks. She has worked as a consultant designer for brands from the UK to Japan, including John Smedley, Lamberto Losani, Daks, Onward and Sazaby League.

She brought to the judging panel a very clear view on the practicalities of textile design: “Whatever the textile is, whether for furnishing or clothing, it has an end use. In college you are free to design without commercial restraint, which I think is great. When you are conceptualising something and starting on a project you should be free,” she explains. “Then it is important to understand how to channel those ideas into a product that is right for its end use - what it’s going to look like once it’s in a garment or as a piece of furnishing. If it’s in a piece of furnishing you have even greater longevity to think about than fast fashion or designer product.”

As a knitwear designer, she considers the placement of stitch, seams and colour in the garment to be of paramount importance and something she considered when judging. “You have to think about how it will look wrapped around the body. I was looking for people who had an awareness of that,” she says. “In the commercial world if you have an understanding of that to start with you will have a heads-up over someone else. I’ve been running my own businesses for 20 years and every penny I’ve spent on my own business has to turn to profit. In the commercial world everything has to work.”

What advice did you receive when you were starting in business that you would like pass on? “The main thing I would share is something my parents told me: do everything with your eyes wide open, don’t narrow your options too quickly. Do something that scares you, as well. You have to allow yourself to take risks and jump in. And I think you need to do everything with a smile and say ‘thank you’.”

Thank you Madeleine!

The 2013 judges with all the designers

Article tags: general (61), business (54), texprint london (19), champions of texprint (45), texprint 2013 (23), judges 2013 (13)

Sophie Manners: One Year On, now based at Cockpit Arts

29 August 2013 by Editor

Philippa Watkins, journalist, Texprint council member and recently retired RCA senior tutor specialising in weave, catches up with Texprint alumni weaver Sophie Manners.

It has been a busy year for Sophie - since showing with Texprint at Indigo September 2012 (where she was selected for the Woolmark Texprint Award), as well as showing with Texprint in Hong Kong and enjoying a two and half month internship in Italy working with Como silk weaver Taroni, she recently moved into her own studio space at Cockpit Arts Holborn in London.

Woolmark Texprint Award judges examine Sophie's work at Indigo 2013

This was for her an absolute joy. To have been selected for a studio place and bursary, which Cockpit Arts offer on their incubator programme to help talented designer-makers - just being there is a recognised benchmark of quality craftsmanship and designer excellence - has given her a huge confidence boost and a solid base from where she can further develop her own very distinctive design work.

Sophie's studio at cockpit Arts 

Moving in her computerised Harris loom, her hank winder and dyeing equipment, thanks to a grant from the Worshipful Company of Weavers, Sophie is now exploring again her distinctly structured woven designs, including the velvet techniques she developed as a student at the RCA.  Currently she is working on new ideas for HodgeSellers Design Consultancy, a leading textile design consultancywhich works on developing materials and ways of processing new ideas to bring a distinctive edge to fabrics for their international clients, among whom are some of Europe’s leading luxury brands.

As well as commissioned design work Sophie is producing her own woven products prompted by the opportunity offered by the Cockpit Arts Open Studios.  New and distinctive designs for scarves and cushions include tie dyed warps and a novel ‘marbled’ technique which she applies to the warp before weaving, thus producing a beautiful, uniquely coloured effect for scarves. sophiemanners.tumblr.com

But none of this might have happened if it hadn’t been for Texprint.  “Texprint opened up so many opportunities” she says, “it really was the best thing I could have done after graduating.  And I sold quite a few designs at Texprint in Indigo, which was so gratifying - just to know people appreciated my work.”

It was through Texprint and ComOn in Italy, which set up the opportunity for six Texprint designer internships in Italy, that she was selected to work with Taroni Spa, one the oldest silk mills (founded in 1880) in Como, in the production of superb quality silks, including jacquards and prints for fashion and furnishing.  The experience she says was invaluable - to observe at first hand how the industry works, as well as getting some of her own designs into work. And it has provided her with a sense of how to approach commissioned briefs for clients and how to market her work.

Cockpit Arts is an award winning social enterprise and the UK’s only creative-business incubator for designer-makers, whosemission it is to support and promote talented designer-makers from all backgrounds through all stages of their career.   Their incubator studios in Holborn, WC1, close to the Hatton Garden jewellery quarter, and in Deptford SE8, are the centre of an exciting community of artists and craftspeople, both established designer-makers and those who are just starting out. 

Article tags: weave (24), alumni (45), texprint 2012 (27), general (61), judges 2012 (13), indigo paris (13)

Texprint Talks: Andrew Mellows and Richard Winstanley of The Drapers’ Company

19 August 2013 by

Founded over 600 years ago, the Drapers’ Company is one of the Twelve Great Livery Companies in the City of London. From its origins as a trade guild, over the centuries it has moved with the times and evolved into an organisation that addresses contemporary issues through its philanthropic initiatives which range from the support of elderly people to education. 

The Drapers’ Company is a Foundation Sponsor of Texprint, meaning it has pledged significant financial support for three years. The Company also made a sizable grant to Texprint last year enabling six designers to show at Interstoff Asia Essential in Hong Kong.

Richard Winstanley (left) and Andy Mellows with Texprint chairman Barbara Kennington

Head of charities Andrew Mellows and Colonel Richard Winstanley OBE, the Company’s clerk, came to see Texprint’s London presentation, held at Chelsea College of Art in July 2013, to meet this year’s participating 24 designers and talk with Texprint:

Through your active involvement, the Texprint programme is able to continue its annual programme, launching the careers of the best new textile design graduates from British universities and colleges.

Andy: We’re just delighted to be able, in a small way, to make a contribution to getting these young people on the path to a good career.

Richard: We engage with all sorts of areas; at one end of the spectrum we look after the under privileged and give them an opportunity where they don’t have it, and at this end of the spectrum we blow on an ember of excellence and make it glow, it’s wonderful to see.

Can you tell me more about how the Drapers’ Company has moved from trade guild to supporting charities such as Texprint?

Richard: The Company will be celebrating its 650th anniversary next year. And in effect, like all liveries we were monopolies on our particular trades in order to fix price, quantity and quality. During the 16th century we effectively stopped our control of the trade. In the course of that journey we had built up a membership. In those days, there was no NHS or educational body, if you wanted to get a better place in heaven you put money into something to ease your journey. So through a combination of all those things, the Drapers’, as with many of the liveries, became benefactors of peoples’ endowments and they realised they needed to invest that to look after their own and that converted as the wealth grew into charitable giving. It was a relatively contemporary decision to go back to our threads and get involved in the textile industry.

Andy: In the early 1990s we became involved with Texprint. We did quite a lot of work supporting design students at various universities. And Texprint was a logical follow on from that in that it connects academia with the commercial world.

Which other textile-focused organisations are you involved with?

Andy: We support the Engineering Development Trust [EDT] and its work in smart materials and composites. It’s a 21st century application of textiles that’s a big area of interest and we support educational visits by school children to smart materials companies.

Why should other members of the fashion and textile industry get involved in supporting Texprint?

Andy: I think it’s important that we don’t lose the skills and training of these young people. In industry today there is almost a principle of something for nothing. And I think it’s important that these young designers are given the chance to develop further in an area they have already excelled in and as many companies as possible get involved in providing internships, works experience or ultimately employment opportunities for young people.

Richard: The reason is in this room. It’s absolutely fascinating, the sheer breadth of quality and the spectrum of work that the designers have created.

What has caught your eye today?

Andy: Gillian Murphy’s knitwear is very innovative, very stylish and obviously of extremely high quality, I thought her colour selection was very clever.

Richard: I thought Katy Birchall’s work was brilliant, a very clever a combination of old and extremely modern. But that’s not in any way to say the others are not as good, I just haven’t got around to all of them.

Andy Mellows talks with Gillian Louise Murphy

Did you receive any good advice when you were starting your working lives that you would like to share? Or do you have some good advice for those starting their careers?

Richard: I am sure like many I have received lots of advice from many people over the years, most but not all of which was helpful.  I think there are probably two bits of advice I can offer above all else which I have tried to follow both myself over the years:

When taking on a new job keep your eyes and ears open and your mouth shut. There will come a time when you know as much if not more than those around you but until then be wary of wading in. And never be afraid of seeking advice as people generally enjoy giving it!   

Never be afraid of making mistakes as it is the best way of learning from them. The trick of course is to make sure they are not deliberate and not to repeat them, thus demonstrating one’s own learning.

I have always tried to live by these (not sure I have always succeeded). It is a balance of tempering one’s innate (and to begin with youthful and therefore sometimes inexperienced) enthusiasm with a desire to show willing. 

Andy: I would say that they are going to have knock backs along the way; don’t take it personally and keep believing in yourself.

Thank you for your continuing support.

Article tags: sponsors (30), champions of texprint (45), texprint 2013 (23)

Flying high: Nancy Rose Taplin, Artist and Designer

12 August 2013 by

Artist and textile designer Nancy Taplin won the Interiors prize at Texprint in 2009. She was selected, and her prize presented by the artist Grayson Perry, an experience that Nancy describes as “one of the happiest of my life.” Our interview with Nancy illustrates how much the Texprint showcase contributes to launching creative careers and how the paths alumni follow are increasingly rich and diverse.

Creativity is in Nancy’s DNA; her father is the sculptor, Guy Taplin, and her mother is the ceramicist Robina Jack. An exciting showcase of the work of all three will be revealed through a family show at renowned gallery Messum’s, in London, which opens on 29th October 2013. Nancy will be showing a new collection of her startlingly beautiful and detailed bird paintings.

Nancy loves living and working in London - she shares a studio with eight other people, almost all of who are working in fashion and textiles. A typical day for her would include around six hours painting – but she told us, “The way in which I paint is detailed and intense and I can only really paint in short bursts, so I take lots of breaks and chat with people. When I first started painting, I was living in Essex and working on my own. I would dream about a space in a big, busy London studio; I feel so blessed now that it’s become a reality.”

How many new works are you creating for the forthcoming Taplin family show at Messum’s?

There will be ten new pieces. It’s really exciting to see the work come together - in some ways it feels a lot like planning and creating a fabric collection. Even though I’m working with unique, stand-alone pieces, I can’t help but think about how they’ll fit together as a group, and I’m really looking forward to seeing them in a gallery context.

How did this opportunity come about?

My family are all artists and it was suggested that we have a family show. I started painting by accident in 2010. I was working as a freelance textile designer at the time, primarily for Issa, having been approached by them at Texprint’s London show. I was quite reluctant to suddenly start producing fine art pieces because I couldn’t see myself working in that way, but thought I may as well give it a go. I’d intended to do a small series of prints, but my father saw the sketchbook I was drawing in – an old ledger onto which I’d painted a bird – and immediately saw that it worked as a piece in itself. I sold all the book paintings I did for that show, and after that it just took on a momentum of its own. I’ve since had a couple more group shows and a solo show and I still haven’t managed to hang on to a painting for myself!

It’s funny, because when I was at Indigo Paris with Texprint, I was approached by a man who bluntly told me my fabrics were beautiful but I’d never make any money as a textile designer because they were fine art, and although it did trouble me at the time, I often think how it was a strangely prescient comment.

After winning the 2009 Texprint Interiors Prize you went on to work as print and embellishment designer for Issa. How was this experience?

It was a massive learning curve.  I was so grateful for the opportunity and working with such a glamorous label was exciting. Seeing print and embroidery designs I’d worked on featured on Style.com having being shown at London Fashion Week was a great experience. However, looking back, it wasn’t a great fit for me. Their aesthetic is completely different to my own and whilst I’m happy working to a brief, I found having to completely remould my style to fit with the sleekness and femininity that is Issa’s trademark a bit of an uphill struggle. If I had the confidence and perspective I have now, I might have refused the role and pursued more suitable freelance work. However, I’m really relieved I didn’t: not only was working with them a wonderful thing to have done, but because I found it so challenging I learned an enormous amount about myself and about the way in which I’m happiest working.

Obviously birds, and your father’s work, inspire you. Has this always been the case?

I spent my childhood surrounded by birds – stuffed, wooden, painted, living – they were everywhere. I’ve grown up with the East End’s answer to David Attenborough for a dad: when you’re with him he keeps up a continual commentary on the natural world and it’s blessed me with an awareness of nature and wildlife that I haven’t really had to work for. Wherever I go I’m conscious of the birds, insects and plants around me, whether it’s seagulls and starlings on the Ridley Road Market or shorebirds along the River Colne.

Other inspirations?

My background is in art history, and I guess my painting style is inspired in equal measure by fourteenth-century egg tempera painting – I can spend hours in the National Gallery’s Sainsbury Wing – and more contemporary painters like Andrew Wyeth. I’m definitely quite traditional in my approach though, and spend a lot of time apologising for being a bit passé!

Your work is incredibly detailed – do you work mainly from photographs?

Funnily enough, the less closely I work from photographs, the more detailed my work gets. When I first started painting, I used to rely on photos a lot more heavily; my paintings were much more realistic, though somehow also much sketchier. Since I’ve become more confident, I’ve also become more immersed in surface pattern and less concerned with realism. I often find myself working on a decorative passage of feathers and thinking, ‘all I’d need to do is blow this up and put it into repeat and it’d make such a great digital print!’

What drew you to working with/on old books? They are things of beauty in themselves – where do you find them all?

I first started working with old books when I was studying fashion and textiles at university.  My mother and aunt were clearing out old stationary from my grandparent’s farm office. I salvaged it all and started to incorporate it into my work. My final collection sketchbook was an old family ledger, which I thought was empty. The whole collection was based on the First World War and its aftermath, and when I was in the final stages of the collection I realised that a few pages right at the back of the ledger had been used, and were dated 1917-18; it was a really affirming moment and felt a bit like someone from my family was sending me a message.  I love the battered aesthetic of old books, there’s something so tactile and appealing about them. I get a lot of them sent over from America now, but when I can, I love to hunt round car boots and flea markets.

Regarding your working process – do the backgrounds inspire the particular bird?

The books themselves have a huge influence on what I paint on them. I think the process of deciding what to paint on a particular book is the point at which my textile training has the biggest impact. Each painting has a colour story, and the books become like fabrics, they have their own personalities and it’s really important to work intuitively with their individual characteristics.

I love painting the birds’ heads – for me it’s where all the personality lies. I’ve done a series of “portrait close ups” for the new show and I’m really pleased with them. That first bit, when you’ve done maybe just the beak and the eye, is when you’ve got the most energy and excitement for a painting and you’re making all the big decisions about colour and form. It’s a great place to be. The worst bit of any painting is “the ugly phase”… I usually paint onto dark surfaces, and have to create a white base first, in the silhouette of the bird. There’s always a brief period before the painting’s started to take shape when it looks absolutely dreadful!

You are concentrating now on your career as a painter, but do you feel you may return to textiles in the future?

I’m definitely planning on working with fabrics again. I’m also fired up about learning to make shoes, and want to produce a collection of small-scale prints that would work in this format. It’s got to the point where I literally go to bed and dream about printed leather – I’ve got so much raw visual material buzzing round my head, so much inspiration from my paintings, that I can’t wait until I have time to start designing. It’s going to be exciting to take the paintings that have been the focus of my life for such a long time and do something completely different with them.

Are there any other projects that you are currently working on?

I’m writing a lot, which is something I’ve always done, and I’m really looking forward to seeing how this develops. Perhaps most excitingly of all though, I’m at the very early stages of realising a long-held dream, and I’m learning how to make shoes. I’ve wanted to do it for so long that I’m bubbling over with excitement about it.

What are your plans for the future?  

I’m looking forward to the point when things have settled down and I’m still painting enough to make a living, but also have more freedom to do other things, like write and get back into textile design. I’m really starting to crave a bit of variety now.

Looking back – is there a significant moment in your career development that stands out?

Other than my solo show selling out at the private view, which was a bit surreal, I think Texprint really was the major highlight of my career development so far. I was at New Designers when I got the phone call saying I’d been selected and I honestly nearly fell down the stairs with excitement. I think the best thing for me about Texprint was that Grayson Perry, who is one of my absolute heroes, was a judge. As someone who’s work traverses fine art and textiles, he was heaven sent, and finding out he’d selected me as the winner of the Interior Textiles prize was one of the happiest moments of my life.  I gained so much confidence and self-awareness from Texprint, and I’m hugely grateful for that experience.

Advice for those about to graduate this year?

Don’t worry if your work seems different from other graduates– my portfolio stuck out like a sore thumb and I felt like a rackety art student compared to the professionalism of everyone else, but I think that actually stood me in good stead in the end. If you get negative feedback, like I did from the man who told me I’d never make any money because I was an artist not a designer, don’t be disheartened: hidden in that feedback there might be a really good bit of advice.  Don’t be rigid, and be prepared to do stuff that wasn’t quite what you had in mind; you honestly never know where it’s going to end up.

The most important thing though is to enjoy the whole process of graduating – New Designers, Graduate Fashion Week, job interviews – talk to people and have fun; people respond really well to enthusiasm, and I really believe that conveying your love of what you do is almost as important as the work itself.

2009:  Nancy with Interiors prize judge Grayson Perry

Article tags: print (31), home & interiors (28), general (61), illustration (9)

Texprint 2013: Meet the judges, Emma Kidd of Selfridges

08 August 2013 by

Emma Kidd, creative researcher at Selfridges, plays a vital role as part of Selfridges creative team. Selfridges opened its doors on Oxford Street, London in 1909 and revolutionised the retail arena, making department stores a site of entertainment and creating an iconic London landmark. Over 100 years later, with four locations in the UK, Selfridges continues to innovate and entertain shoppers. Selfridges is the only department store to be twice awarded the accolade of the Best Department Store in the World.

In July 2013, Emma joined the special prize judging panel in London to select the shortlisted designers for this year’s Texprint Awards in Body, Space, Pattern and Colour.

Emma reviewing the work

How did you find judging the Texprint Awards, can you tell us what you were most excited about?


I was really excited to see what the future holds in terms of textile design. It was an extremely talented and driven group but the diversity within it was really refreshing. I didn't see a trend stylistically or technically - just individual magic.

How important is it for you to support the next generation of textile designers?

At Selfridges we are passionate about encouraging emerging talent primarily from the a number of creative sectors including fashion. Textile design is at the core of fashion and is often what drives fashion forward. The next generation of textile designers will influence our future catwalks and what we wear every day. Let's make it an exciting future.

The Texprint programme selects designers who have trained in UK art and design schools, regardless of where they come from originally. Why is the UK art school system so good at producing design talent?

You can't beat Britain for imagination and creativity and I think this is where we have the edge. For a supposedly reserved nation, the creative industries are insuppressible.

Emma with judging panel and the 24 Texprint 2013 selected designers

Can you give me a brief outline of the role of the Selfridges’ creative team?

The team is headed up by Linda Hewson, the director of windows & creative, and our team reports to Alannah Weston, the creative director of Selfridges. The role of the creative team is ultimately a conceptual one; researching and developing ideas that inspire everything from architecture and spaces within the store, to seasonal and creative store-wide schemes, product development and customer experience. In a sense we are a tool that ensures Selfridges can evolve in a way that is consistent with Alannah's vision, is in touch with the world around us, and always has a beady eye on the future.

Could you give me an idea what a typical day is like for you?

I'm not sure that there is such a thing as a typical day in the creative office. Every day is different! We like to vary the way we work according to project. However, we do generally have lots of meetings between departments, and of course for brainstorming and generating ideas. As a researcher, I like to start my day catching up on my favourite blogs and checking the day's news.

What is the best thing about working at Selfridges? What do you think sets Selfridges apart from other department stores?

I would say the people. As we work with lots of other departments, I am always meeting new people and I am constantly blown away by their knowledge, expertise and passion for their subject.  
Personally, I would say that the character of Selfridges is unique. We're a ‘thinking’ brand but don't like to take ourselves too seriously. There will always be some kind of wit or humour, a touch of the magical or surreal, and we like to have fun.

What’s next in store for Selfridges - are you working on any upcoming projects that you can tell us about?

Yes! Our Bright Young Things of 2013 launches late August. Previous BYTs have gone on to be very successful in the creative industries; from Simone Rocha to Patternity. This, the third Bright Young Things scheme, features fifteen UK-based emerging talents from the worlds of fashion, accessories, art, animation, set design and food. Each fledgling designer will take over one of the world-renowned window displays at Selfridges London and their creations will be on sale in the dedicated Bright Young Things Concept Store and Selfridges.com.

Where would you suggest a first time Selfridges shopper should check out in store?

Come and spend the day! I have to say I love our new Wine Shop and Harry Gordon's bar. It's a really cool space designed by Campaign Architects. The cocktails are delicious and the wine selection outstanding. A great way to unwind after a busy day shopping.

Article tags: business (54), texprint london (19), champions of texprint (45), texprint 2013 (23), judges 2013 (13)

Texprint 2013 Selection Interviews: how, why, who and what

23 July 2013 by Editor

Emma Sewell, Ruth Greany, Gregory Parsons with designer and Peter Ring-Lefevre (right)

With Texprint 2013 well underway this seems a timely opportunity to track back to the first stage of the selection process as we catch up with Texprint’s creative director Peter Ring-Lefevre to discuss the how, why, who and what of the Texprint interviews.

Peter, over 190 graduates are interviewed over a three-week period – quite a schedule, how does it all work?

Shortly after Easter Texprint approaches all the UK’s design colleges and universities, inviting textile course leaders and tutors to put forward their most talented designers who are about to graduate, and who they feel are most likely to benefit from the Texprint experience.  That they are Trained in Britain is the key, the designers are international as well as British-born, and can be graduating from BA or MA degree courses (though can only be selected once for Texprint, if at BA then not again at MA).

Photo left: Keighley Sheperdly, Sarah Cheyne / Photo right: Neil Bamford, Claire Whiston, Emma Shipley (hidden)

This is an intense time for the Texprint team as tutors are contacted, queries answered, designers telephoned and emailed to establish when they can come to London (as they hail from all corners of the UK!) and interview timetables are scheduled, changed and scheduled again!

Well over 240 designers were put forward this year by 37 UK colleges, which is fantastic.  However as we are only able to interview around 190 designers over our planned three weeks, already decisions need to be made! 

Prior to this I am in touch with our network of industry contacts, all amazing champions of Texprint each of whom give up time in their busy schedules to get involved and interview for at least one day. I also aim to invite several course leaders to participate as this is the best way to illustrate what Texprint is looking for and I know they find the experience very helpful.

JO PIERCE: “It’s great to be asked. As a senior lecturer and someone putting forward students for Texprint it’s a great opportunity to see first hand what Texprint is looking for, also to see the benchmark. It’s useful to meet with others in the industry and hear their views on students, and to see what they’re looking for.”

Angela cassidy, Noel Chapman, Jessica Quinton

Why is it important to conduct individual face-to-face interviews and who does the interviewing?

This is one of the unique aspects of the Texprint programme.  It is only by interviewing each designer, looking in detail at their portfolios and asking probing questions, that one can discover where their true potential lies.

It’s a rigorous process and the first stage of mentoring. Our interviewers are all experts in one or more textile discipline, they are all professionals and working in industry, have their own studios or textile-based businesses, and in some cases they are alumni. Given their wealth of experience the interviewers can quickly assess where a designer is coming from, what their interests and skills are and what potential they offer if given the best opportunities to showcase their work.

The face-to-face interview and the knowledge we build up of the selected designers also means that we can wholeheartedly recommend these designers to potential employers, not just for their design skills but for their confidence, work ethic, desire to succeed etc.

CLAIRE WHISTON: “I love spending a day immersing myself with students and their portfolios. Often at degree and MA shows you do not get to see the back up research or hear directly from the students what their work is about.  Something new and refreshing always crops up and new trends emerge. The mix of colleges allows me to overview the current year and points me to new emerging courses.”

And every designer benefits from this opportunity - for many, even if not selected for Texprint, the interview itself is a revelation.  The interviewers are able to swiftly highlight aspects of their work or suggest next steps that the designers may not have even considered.

JANE KELLOCK: “It’s exciting to be part of an initiative that supports British design and helps graduates reach the next level after completing their education. I find it very inspiring, being involved helps keep me in touch with what’s inspiring young people - and I feel passionate about helping young designers and want to give something back.”

Jane Kellock, David Edmond, Jeremy Somers

What are the interview panels looking for in each designer’s portfolio?

In September the selected designers will exhibit as professional designers at Indigo/Première Vision.  Indigo is central to the Texprint programme and experience - however as Texprint is increasingly seen as a design source for all creative industries – fashion, interiors, product, accessories, automotive, graphics among others - it is important that we think beyond fashion when considering the work.

JEREMY SOMERS: “I’m looking for originality, great colour and creativity, thoughtfulness, exceptional drawing skills and technical ability, plus confidence and conviction – and ultimately whether the graduate will gain from the Texprint experience.”

Primarily we are looking for 24 designers whose work pushes the boundaries!  Collections of work that demonstrate innovation, creativity, skill and commercial awareness.  It is also important to assess not just the work shown, but whether the designer has more ideas that can be developed in the future.

DAVID EDMOND: “Helping out with Texprint is a joy for me. It is great to see new designers’ potential and be able to help them with insight and directional advice.”

ELEANOR PRITCHARD: “I really enjoy seeing a snapshot of the work coming out of British textile courses. It’s a real privilege to be shown and talk through the sketchbooks, the journey and process behind a collection. I got a huge amount from Texprint when I graduated and am very happy to contribute to helping the next generation of designers.”

The interviews are also a unique opportunity to track how standards across the UK are changing or developing.  In some cases one is disappointed if standards seem weaker than previous years, in other cases, you can be completely overawed by the extraordinary work of many of today’s most talented graduates.

SARAH CHEYNE: “As I work in the more commercial sector of textiles it is refreshing to see portfolios of work which are not necessarily constrained by feasibility or production costs.”

Wrapping up, Peter says the key is to evaluate whether the interviewee is really ready for the opportunities Texprint can open up for them – is the designer focused and determined, do they understand the skills they need to be successful – not just to be talented, that’s a given, but also do they show enthusiasm, confidence and a willingness to learn, fast!

NEIL BAMFORD: “Texprint showcases our textile design graduates to the international industry. Being an ‘ex-Texprinter’ I am acutely aware of the support and springboard it gave me, so it’s important for me to give back and in turn support this great charity.”

Chris Judge, Helen Palmer

Texprint 2013 Interview Panels:

Texprint would like to take this opportunity to warmly thank all the professionals who participated in the 2013 Selection Interviews - your time, energy and experience is hugely appreciated as always.

Kim Avella: tutor Royal College of Art, freelance designer

Neil Bamford: Mint design studio

Joanna Bowring: sponsorship director Texprint, president British Textile Colour Group

Angela Cassidy: own studio, Texprint alumna

Noel Chapman: own studio

Sarah Cheyne: Johnson Cheyne design studio

Fiona Coleman: global head of colour WGSN

Isabel Dodd: tutor Chelsea College of Art & Design

Katie Dominy: founder Arts Thread

David Edmond: own studio

Katie Ellis: studio manager Circle Line Design

Philippa George: The Collection design studio

Gill Gledhill: GGHQ

Alison Grant: textile designer

Ruth Greany: fabric editor WGSN

Janet Holbrook: Holbrook Studio, Peclers

Chris Judge: own Studio

Jane Kellock: consultant Stylus and Debenhams, member British Textile Colour Group

Barbara Kennington: chairman Texprint

Jaqui Lewis: Lewis & Lewis design studio

Jaine McCormack: interiors textile design 

Shane McCoubrey: McCoubrey art & design

Kirsty McDougall: tutor Brighton, Dashing Tweeds

Helen Palmer: head of materials and knitwear WGSN

Gregory Parsons: Halcyon Days, museum curator

Gina Pierce: course leader London Metropolitan

Jo Pierce: senior lecturer Central St Martins

Eleanor Pritchard: own weave studio

Jessica Quinton: Quinton Chadwick

Emma Sewell: Wallace Sewell

Keighley Shepherdly: designer Liberty Art Fabrics

Emma Shipley: own studio, Texprint alumna

Alison Smart: RA Smart Ltd

Jeremy Somers: Circle Line Design

Angela Swan: own studio, Worshipful Company of Weavers

Anne Tyrrell MBE: CEO Anne Tyrrell Design

Claire Whiston: Whiston & Wright design studio

Article tags: alumni (45), general (61), champions of texprint (45), texprint 2013 (23), interview panels (1)

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