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Alumna Stories: Jayne Goulding

09 November 2016 by Roger Tredre

She was a last-minute pick for Texprint 2015, but turned into one of the year’s biggest success stories. We speak to Jayne Goulding.

A last minute drop-out from the 2015 generation of Texprint designers gave Jayne Goulding a chance to join the line-up in Paris. What then happened was exceptional.

Goulding took orders, orders and more orders. By the end of three days of leading global textiles trade show Première Vision Designs, in terms of orders taken she was arguably the most successful-ever designer to show with Texprint.

Texprint 2015 at Première Vision Designs, Jayne talks to The Woolmark Company Texprint award judges

Experience counts. Goulding, who is now based in Bristol, was an unconventional choice because she already had significant industry experience and had returned to higher education to take a part-time MA at Bath Spa University. She had studied embroidery at Nottingham Trent for her BA and her earlier career included five years working as a lingerie designer for Marks & Spencer, an experience that served her well in anticipating the demands of buyers at Texprint.

Also unconventionally, Goulding had chosen to go solo at a time when she was a mother of two young children – requiring some hefty jugging of schedules and priorities. The children, she laughs, don’t really live in a house – they live in a design studio. Work and family overlap both in the mind and in physical reality. Luckily, boyfriend and partner Duncan Steel, a structural engineer, has the same sense of humour. Listening to our conversation, he adds, smiling: “I’m really supportive because it’s so clearly her passion.”

Working at home with the family

Speaking to her again a year on, back at PVD this September, where she now had her own stand, Goulding recalled the phenomenal sales of 2015. “It was really non-stop. The buyers were drawn to the detail in my work, which includes embroidery and design. They liked the richness and the colour, and the potential for different applications. And it helped that I had garments to show how it can be applied.”

Skip forward to 2016: “After PVD, I thought I’m definitely doing that again! This year, I’ve made slightly fewer sales but I’ve found some great contacts with factories that want to develop relationships. It’s not just about instant sales – you want long-term relationships.”

Jayne Goulding exhibiting independently at Première Vision Designs 2016

She talks through her Autumn/Winter 2017/18 with confidence. “A lot of my work is very conceptual. The high-shine fabrics are key for the season using geometric and pixellation techniques. I do florals, but I try to be contemporary rather than twee, using a pixellation technique that creates a floral design with a suggestion of geometry in the metallic yarns.”

Over the past year she has combined working as embroidery technical demonstrator at Bath Spa University with developing her creative signature. “I’m still testing the market really. Experience has given me the confidence – all those years of trend research and colour. One of my strong points is I know how to create a story. And I know how buyers work, how they react.”

That said, going solo has been a tough option. “It’s expensive and time consuming. Even more established people I’ve chatted to at PVD say that knowing what the market wants can be hit and miss. But I do love the challenge and I love that I’m working for myself, bringing together all my experience.”

Jayne's home studio

We speak again by phone a month after PVD ends and she is enthusiastic about the many contacts she made. “I sold to Italians, Spanish, Japanese, Chinese and Americans – and a big catwalk brand. And I met some big factories. These connections are going to be really important for the future.”

She is not deterred by the challenges ahead. “I have always worked long hours – and now it’s for me alone! Long-term, I would like to have my own brand and create my own product. But the past year has been such a great start. Without Texprint, I would never have attempted to show at PVD so soon after my MA – it was such a leap, it stuck me right out there. And suddenly people were buying.” Indeed they were.

www.jaynegoulding.com

A sample from Jayne's successful 2015 collection 

Meet the Sponsor: Julie Davies, The Woolmark Company

02 November 2016 by Roger Tredre

Judging The Woolmark Company Texprint Award 2016 at Première Vision Designs

Texprint has worked with TWC for much of its 40-year existence, and the synergy of interests between the two parties has been nurtured by a succession of remarkable individuals.

Currently championing that relationship at TWC is Julie Davies, General Manager, Processing Innovation & Education Extension.Her role puts her at the forefront of spreading the word about Merino wool to new generations worldwide.

Julie Davies at the Texprint 2016 Prize Presentation in Paris

When Texprint, which relies entirely on funds raised from sponsors and supporters, was struggling in the late 1980s, TWC was a staunch supporter and helped Texprint make the transition to charitable status in 1990.

Now, with Texprint flourishing once more, TWC sponsors a prize at Première Vision Designs every September in Paris. The winner – this year, Jacob Monk, from Central Saint Martins – goes on to show at Intertextile Shanghai, backed by TWC. The 2016 Woolmark Company Texprint Award was judged by Aline Galimberti, Chief Designer at Dormeuil, together with Jonathan Christopher of Jonathan Christopher Homme, the 2015-16 European menswear finalist for the International Woolmark Prize.

Winner of The Woolmark Company Texprint Award, Jacob Monk (centre) with award judges Aline Galimberti, chief designer at Dormeuil, and Dutch menswear designer and International Woolmark finalist Jonathan Christopher

TWC is a subsidiary of Australian Wool InnovationLimited, a not-for-profit enterprise owned by more than 24,000 woolgrowers that invests in research, development and marketing along the worldwide supply chain for Australian wool.

Julie Davies has worked in the Australian textile industry for 30 years, the majority of those years working in product development  and sales and maketing for a fully vertical textile mill. Merino wool was always the  dominant fibre. She was approached five years ago to work directly for TWC and has spent the past four years focusing on innovative education & extension programmes

The true passion that runs through so many people in the textiles industry was a talking point at Premiere Vision Designs this year. 'Find your passion, hold on to it and let your passion  drive your successes,' says Davies, encouraging the Texprint designers. 'It can be an amazing career and a wonderful opportunity to keep creating and innovating.'

What's her story? 'I was always passionate about textiles as a student, although I took a different path at first. In my mid-twenties I realised that textiles was where I wanted to be. I worked initially for a textiles printer, both for interiors and fashion, across all categories. And then I worked for a fully vertical circular knit company, based in Australia, working in product development and sales and marketing  At that time our production manager was an extremley talented Italian, Alberto Pastura, who had been in the industry since he was a child. To work alongside someone with his knowledge and passion was a amazing and unique experience. Approximately 70 per cent of the collections we produced were in Merino wool. As we were a fully vertical company I was involved in the knitting, dyeing and finishing processes through to the finished garment production and retail marketing.

Enjoying the judging process!

'I was also managing our sales across all product ranges and in that learned to really appreciate the connection between the designer and the manufacture and not taking that relationship for granted. Nurture those connections to create beautiful products……it's those special partnerships that lead to exceptional design and commercial success.'

She adds: 'Don't be afraid to build your relationships, reach out to industry. Don't be daunted by that, there are a lot of really committed people who are more than happy to help and support young talent.

Understanding the importance of education and opportunities for students and young designers TWC continue to build and maintain their partnership with Texprint. 'It is hugely important . the work Texprint does to inspire and encourage young designers, setting them on their way in the industry is truly inspiring and critical for the future.'

Industry designers and consumers alike are appreciating the versatility of Merino wool as technical innovations have expanded the range of products that are perfect for wool. In particular, Merino wool has made an impressive impact in the active sportswear sector in recent years. 'The increase in interest in Merino wool in that sector in recent years has been extraordinary,' notes Davies. 'It's not just about base layers, it's mid-layers and outer layer garments  Wool wadding in jackets, diversity in print techniques, bonding, lamination, etc – with wool as the major fibre.'

The surge of interest in sportswear looks set to be a defining feature of fashion in this decade. So it's an exciting time to be working in the expanding wool sector – both for Davies, The Woolmark Company and for the new generation of designers emerging through Texprint. 

www.woolmark.com

Making It In Textiles 2016

14 October 2016 by Editor

Texprint was delighted to be invited to take part in the third Making It In Textiles conference held in Bradford earlier this month; a conference made possible by the support of The Campaign for Wool, The Clothworkers’ Company, The Drapers’ Company and The Weavers’ Company.

Making It In Textiles conference, introduced by James Sugden of The Weavers' Company

The audience comprised 3rd year textile students, their tutors and course leaders, press and industry leaders.  Given that Bradford is firmly embedded in the weaving industry, the focus not surprisingly was on careers in weaving, with most of the students specializing in this field - that said the messages from all the speakers could apply to students in almost any field.

Philippa Brock, textile designer and senior weave lecturer at Central Saint Martins

There was a real buzz in the room as students chatted with peers from other colleges, and with other guests.  There was a lot to take in, workshops to tackle, and advice and ideas coming from all directions.

Christopher Maclean May of The Clothworkers' Company talks with a student

Panel discussion with designers sharing their experiences - including Cherica Haye, Rolls Royce (second from left), and Andrew Stephenson, Paul Smith (second from right) - both Texprint alumni

This was a chance for the young designers, soon to embark on their career, to listen to speakers whose companies are among the best in the UK, specialists in their field with international order books.  Adam Hainsworth, of vertical mill Hainsworth, talked of the commercial realities of keeping a two-century-old textile manufacturing business profitable, and Paul Johnson of finishers W.T.Johnson & Sons, talked about the link between design and weaving and how the limits of the ‘possible’ can be pushed in the finishing of fabric. 

Richard Humphries, director of luxury silk jacquard weavers Humphries Weaving, entertained the room with tales of amazing bespoke fabrics created for the Queen, for The National Trust, suit fabrics for the male guests at Mark Zukkerberg’s wedding – and even an extraordinary jacquard of skulls for a one-off  ‘goth’ wedding dress.

And there were also more personal journeys to listen to – from Emma Sewell of Wallace Sewell; and Julia Skliarova, senior textiles editor at WGSN – both, as it happens, Texprint alumna.  Also Joan Johnston and Vanessa Podmore, whose careers have touched on procurement, buying, and design across a wide range of brands from Jimmy Choo to Burberry.

Emma Sewell of Wallace Sewell (left)

Julia Skliarova, senior textiles editor at WGSN

Visits to local mills were on the agenda for Day 2.  Most students had never visited a mill before and were amazed by the scale, the engineering, and the way in which cloth designs are developed and taken into production.

All-in-all an extraordinarily important and eye-opening event which will undoubtedly help and enable young designers on graduation to explore the many opportunities available to them in the industry – from design to technical, from sales to marketing, and so much more.

Abraham Moon & Sons

 

Abraham Moon & Sons

 

Abraham Moon & Sons

 

Darren McCluskey, director of Camira 

Texprint alumnae stories: Genevieve Bennett and Philippa Prinsloo

04 October 2016 by Roger Tredre

Genevieve Bennett and her John Lewis Design Collective collection

They met on an art foundation course in Manchester, crossed paths again at the Royal College of Art, and were both selected for Texprint. Now – fast forward some 15 years – they’re working together on a major collaboration for John Lewis.

Visual designer Genevieve Bennett is best known for her high-end bespoke decorative leather coverings, but has worked extensively in the broader market and built an impressive portfolio of clients and collaborations. Philippa Prinsloo is Head of Design, Home at retail giant John Lewis, where she has worked since 2011 following seven years at Habitat.

Philippa Prinsloo, head of design, Home at John Lewis

The collaboration is part of the John Lewis Design Collective, which was established to build collaborations with top design talent creating unique pieces exclusively for John Lewis. Textile names include Maggie Levien, Wendy Morrison, Suki Cheema, Timorous Beasties and Bluebellgray.

The Genevieve Bennett collection is the biggest launch by the Design Collective to date (click here to find out more), including wallpaper, furnishing fabrics, cushions and rugs, all in-store this autumn, with bedding and bathroom textiles to follow for Spring/Summer 2017. Philippa Prinsloo is thrilled with the results: “Genevieve’s work has such a beautiful and elegant handwriting,” she says. “Everything has a wonderful tactile quality, and the colour is incredible.”

Cushion from the Genevieve Bennett collection

She points out that designers from a textiles background are intrinsically versatile. “You have that skill set of working with others, of curating a landscape, of thinking beyond a collection of textiles to a collection of objects in a room.”

Bennett’s design work is full of patterns that are mesmerisingly beautiful. Over the years, inspiration has come from a broad range of sources, ranging from the wood carvings of Hanoverian craftsman Grinling Gibbons to 3D paper engineering techniques. She loves “ceramics by William De Morgan, Moorish lustreware, Art Deco embroideries, Chinese lattice screens, and patterned tiles of all kinds”.

Prinsloo manages a team of 17 and is a busy traveller, regularly attending the big shows in Milan, Paris and New York, as well as Heimtextil. She also loves London’s East End, including Brick Lane and Columbia Road markets – and she’s equally influenced by her family roots in South Africa, although she left the country at the age of two and grew up near Manchester.

The new collaboration with John Lewis actually got underway last autumn with a small rug collection, where Bennett sought to translate the qualities of her bespoke leather coverings into rugs made in India for John Lewis. She appreciates the opportunity to convey the qualities of her bespoke work in products for a broader market. Her wallpaper for John Lewis, for example, uses surface print techniques, with a block-print effect that has a wonderful texture and sophisticated handfeel. “My core business is working with leather for luxury hotels and private residences, but I also really enjoy working to briefs which target different markets,” Bennett says. “It’s been very challenging and satisfying.”

What do they remember of Texprint? Bennett, who studied printed and embroidered textiles at the Royal College of Art, enthuses: “It was just the best experience. I was doing very experimental work and didn’t think anyone would get it, but I sold loads in Paris and it really helped me to set up my studio.” She also met Catriona Macnab, now best known as head of fashion at trends forecaster WGSN but then at Woolmark (both The Woolmark Company and WGSN are Foundation Sponsors of Texprint). Macnab offered her work straight out of college that helped to broaden her knowledge of colour and materials.

Philippa Prinsloo talking with Texprint 2016 designer Lydia Knight at Texprint London

Prinsloo was equally excited about her Texprint experience in Paris. “I was amazed by the quality and the number of companies that we were exposed to at Indigo [the former name for Première Vision Designs]. It would take one week to book all those appointments with the right people – Texprint facilitates an incredible fast-track approach.” She freelanced for three years after Texprint, before joining the design team at Habitat and then becoming, at 38, the youngest-ever home design manager at John Lewis.    

Genevieve Bennett is not the only Texprint and Royal College of Art alumna to contribute to the John Lewis Design Collective. Woven textile designer Margo Selby is another Texprint alumna familiar to John Lewis customers. And, as the Texprint generation of 2016 prepares to show in Paris, no doubt there will be more to come.

Room set, the Genevieve Bennett collection at John Lewis Home

Texprint 2016 Paris: Première Vision Designs

15 September 2016 by Roger Tredre

Texprint’s young designers exhibit for the first time on the international stage at PremièreVision Designs in Paris. We report on a very special three days.

The 24 young UK-educated designers who are selected and sponsored by Texprint every year unveil their work to a professional audience for the first time in London in July at Chelsea College of Arts.

But that’s just the preamble to the main event: the step up to present to a truly global market at Première Vision Designs.

© Eloise Holmes 2016

This year, the excitement of the three days in Paris (September 13–15), was palpable from the start. The designers reported plenty of orders on the very first morning. Such as Eloise Holmes, who sold a woven stripe design to a leading European retailer that she had precisely in her mind when she first designed the piece. “I was shaking with excitement,” she said. “It’s so nice to sell to a company I know and like.”

Print designer Mikey Womack also had a sensational first day, selling six designs to an Italian buyer within the first hour. “It was the most insane thing I’ve done!” he said. “I gave her a good deal because she was my first-ever customer.”

© Mikey Womack 2016

Later, he picked up a commission from another leading high street retailer, while one buyer even bought one of his paintings as a present for her husband’s birthday. “I didn’t expect us to be selling like this,” he said. “I thought people wouldn’t be interested in graduates, but they’re all saying, ‘we’re bored with what we see elsewhere, you’re different’. Texprint is like a playground of creativity for them.”

© Grace Lomas 2016

Mixed media star Grace Lomas, who won the Texprint Fashion Award, was thrilled by the quality of the companies she was meeting. “One moment it’s Marc Jacobs, the next it’s Nike. People are so curious to see our work. They say this is the best area of PV. Maybe it’s because we are working without the constraints of the more established companies.”

© Helga Aradottir 2016

Supported by Texprint’s experienced team, the designers are given plenty of advice on the commercial aspect of the textile business, learning how to market and sell their work. And the 24 designers, drawn from leading design colleges and universities all over the UK, are mutually supportive, a point emphasised by Isla Middleton, an exciting new talent who develops print designs from her drawings of plant forms and flowers. Middleton, who recently graduated from Falmouth University, was winner of the Texprint Interiors Award (sponsored by the Clothworkers' Company), “It’s a really nice group,” she said. “We’re all ready to help each other.”

It’s important for the designers to do their very best to impress every visitor to their stands. Embroiderer Martin Bonney said: “People were wanting me to put designs aside and on hold so that they could come back later with their bosses. You see these Chinese girls in their early twenties who are actually working for very big companies. There’s a bit of haggling going on, which I’m not so good at yet, but it adds to the experience!”

© Emma Kendall 2016

Texprint Creative Director Peter Ring-Lefevre commented: “The 2016 designers are individually very different – across the twenty-four, there are few common threads, which makes this year’s show very eclectic. I love that there are very traditional hand-drawn skills applied to fashion and interiors – it’s very heartening to see because these are skills we don’t want to lose.”

Also among the winners this year was Megan Clarke, who won the Texprint Pattern Award (sponsored by Liberty Fabrics) and Chloe Frost, who won the Texprint Colour Award (sponsored by Mode Information).

This year’s judges, who made their choices back in July at Texprint London, were Nadia Albertini, a couture embroiderer; Fi Douglas, founder of Glasgow’s bluebellgray; Pip Jenkins, head of design at John Smedley; and Andrew Croll, senior design recruiter for Nike.

The Woolmark Company Award, judged by Aline Galimberti, chief designer of Dormeuil, and rising menswear star Jonathan Christopher went to Jacob Monk, a weave designer who studied BA Textile Design at Central Saint Martins.

Prizes were presented by Martin Leuthold, Artistic Director of Jakob Schlaepfer, who pointed out that he was attending his 80th PV, dating back to 1976 – no breaks in 40 years!

Martin Leuthold, with winners Megan Clarke, Grace Lomas, Chloe Frost, Jacob Monk and Isla Middleton

Following PV, two of the designers – Amy Smith and Jacob Monk – repeat the experience at the major Asian show, Intertextile Shanghai (October 11–13).

Seven of the designers are also preparing for extended internships in Como this autumn, continuing Texprint’s long-running connections with the finest Italian mills. Amy Smith is again in that group. In fact, she mused, she is visiting Paris, Shanghai and Como within a two-month period. “And I’m squeezing in a holiday in Blackpool,” she laughs. Texprint designers may be living the international lifestyle, but they have their feet firmly on the ground…

Judges for The Woolmark Company Texprint Award Announced

11 September 2016 by Editor

The judges for this year’s The Woolmark Company Texprint Award have been announced. They are Aline Galimberti, chief designer of Dormeuil, and Jonathan Christopher, the 2015-16 European menswear finalist for the International Woolmark Prize.

The Woolmark Company, the global authority on wool, has supported Texprint’s prestigious awards for many years with a dedicated prize that recognizes the use of Merino wool incorporated into textile design.

The Woolmark Company Texprint Award is judged and presented at Premiere Vision Designs. This year’s announcement will be made on September 14 at the Texprint village in Hall 5.

The judges will meet the 2016 Texprint alumni on their stands at Premiere Vision Designs to view their collections and discuss their use of Merino wool. After joint deliberations they will select the winner of The Woolmark Company Texprint Award.

“Education continues to remain a top priority for The Woolmark Company as we continue to actively donate time and resources into nurturing the development of the next generation,” explains The Woolmark Company Managing Director Stuart McCullough. “New talent is the future of our industry and our longstanding relationship with the Texprint Awards allows us to support the best new design graduates as they enter the early stages of their professional career, exploring the innovative possibilities of Merino wool.”

Aline Galimberti is chief designer of Dormeuil, one of the most respected global brands in the textile industry, founded in 1842 with a reputation for exceptionally high quality research, creativity and innovation. She says: “I look forward to discovering how young talents interpret and present wool – one of the most noble of fibres – with a touch of their innovation. The aim is to come up with an innovative product, presented in a different manner with the right market price!”

Jonathan Christopher is from the Netherlands and has proved a major innovator in wool denim. The International Woolmark Prize highlights the most innovative and modern interpretations of Australian wool by leading design talents.

The winner of The Woolmark Company Texprint Award will receive £1,000 plus ongoing support from The Woolmark Company and opportunities to learn about developments, innovations and the supply chain for wool. In addition, The Woolmark Company will sponsor a dedicated presence for the winner at Intertextile Shanghai.

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