Texprint 2016 at Première Vision Designs
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06 September 2016 by Roger Tredre
He’s a legend in the textile industry. Switzerland’s Martin Leuthold has devoted his career to working for one company, Jakob Schlaepfer, renowned for its innovative textiles for both the fashion and interiors worlds. Now he’s taking time out to present the Texprint awards in Paris at Première Vision Designs on September 14.
Jakob Schlaepfer is the name behind many of the sumptuous textiles that grace glamorous showcases ranging from the couture catwalks of Paris to the red carpets of the Oscars. Fashion houses love working with the Swiss company because of its ultra-creative ‘blue sky’ approach – everything is possible in the world of Jakob Schlaepfer. Back in February, model Lily Cole wore a gown at the Oscars made from recycled PET fabric from the company. And in August last year, Hollywood actress Nicole Kidman starred on the cover of US Vogue in a sequin embroidery also courtesy of the Swiss maestros.
Spring/summer 2016, from left: Dennis Basso and Sonia Rykiel
Leuthold’s own awards and accolades are numerous, including the prestigious Imagination Prize at PV in 2009 and the Grand Prix Design at the Swiss Federal Design Awards in 2013.
He started out at Jakob Schlaepfer way back in 1973 as an embroidery designer, going on to reinforce and take forward its – and his – reputation for textile innovation. He was appointed Artistic Director in 1980.
As new technology and the online world transformed the creative process at the turn of the century, Leuthold enthusiastically embraced change – and he continues to draw inspiration from a myriad of sources.
He loves the experimental aspect of his work. As he once put it, “Fashion is a bit like an experimental kitchen, where you can try things out and then discard them again; either they go by the board or they end up on the catwalk.”
Spring/summer 2016, from left: Talbot Runhof, Maison Margiela, Marc Jacobs
Jakob Schlaepfer was founded back in 1904 as an embroidery business in the eastern Swiss city of St. Gallen. Jakob himself died in 1962 but the business saw rapid growth during that same decade, with the acquisition of a world patent for industrial sequin embroidery on shuttle embroidery machines, and a first haute couture collection created for Paris and Rome in 1964.
A first interiors collection was launched in the 1990s, with an inkjet division set up in 2001 and a laser unit for embroidery machines in 2006. The company is now part of the St. Gallen Forster Rohner Group.
Interiors: Glinka Pomona
Martin Leuthold’s design team creates more than 1,200 new fabrics every year – focusing on innovative ideas and high-quality workmanship. The fabrics are conceived, tested and realised in St. Gallen. The in-house production and close cooperation with local partner firms enables Jakob Schlaepfer to work experimentally and to respond flexibly to the constant changes in fashion.
Jakob Schlaepfer has continually adapted technological developments for the company’s own purposes. The firm uses laser cutting, digital printing and state-of-the-art embroidery machines. This has made the fabric processing options more comprehensive and multifaceted.
It’s a pleasure and honour for Texprint to welcome Martin Leuthold to present the Texprint awards in Paris this September.
11 August 2016 by Editor
The design process is being transformed through the innovative use of new-generation software. Texprint designers checked out the potential of AVA CAD/CAM on a training course this August.
Six Texprint designers were given the chance to explore the possibilities of design software on a one-week course in Macclesfield, Cheshire, this summer with AVA CAD/CAM, a new sponsor of Texprint.
Duncan Ross, Commercial Director at AVA, said: “We are thrilled to become official Texprint sponsors this year. Supporting education and students, and helping to create links with industry, fits our profile. The variety and quality of graduates seeking realistic employment opportunities is quite astonishing. Once the six prize winners have adopted the new AVA software skills, I’m confident they’ll be even more creative and highly employable.”
Designers from left: Isla Middleton, Amy Smith, Lydia Knight, Crimson Rose O'Shea, Emma Kendall, Megan Clarke
If that sounds worthy but a little dull, designers listen up! New-generation software used with confidence and experience can transform the process of designing. Texprint designer Emma Kendall was enthused. “I genuinely feel like I’m part of a revolution in digital design development,” she said. “I can’t imagine how I coped before.”
AVA CAD/CAM has been providing specialist design and colour software – together with support, training and technical consultancy services – to the textile and decorative printing industries around the world for more than 25 years. Areas of particular focus include printed textiles for home furnishing, fashion and apparel, wall coverings and floor coverings.
AVA’s suite of integrated specialist software modules caters for the entire workflow from initial design and repeating, through colour separation and re-colouring to digital printing and conventionally printed production. AVA makes the tough aspects of textile design, such as repeats and colourways, easy.
Many companies have integrated AVA into their design process. Julie Hall, head of design at Bedeck (and a Texprint judge in 2015), says: “We use AVA for most aspects of our design development – from piecing scanned imagery, separating artwork through to design layout and colouration. The design development process is completed so effectively and efficiently.”
Progress in understanding AVA was rapid for all six designers participating in the one-week course. By the first afternoon, they were working with their own imagery to explore the software, focusing on creating repeats and understanding the different tools available. On the second day, they worked on simple non-tonal colour separations, and looked at vectors and geometric tools. Over the rest of the week, they explored advanced colour separations, learned layouts and how to present colourways, and looked in-depth at an aspect of the software package that enables designers to map designs onto visualisations for interiors and fashion.
Designer Isla Middleton was impressed by how the software allows pattern and colour to be explored in a controlled and efficient way. The key to making the most of AVA is good training. That’s why the Texprint group was supported every step of the way by expert trainer Kerry Walsh – two thirds of the company’s staff make up an experienced multilingual team providing technical support to customers worldwide.
Megan Lily Clarke appreciated the support: "Learning new things is always hard, but when the penny dropped with AVA, everything was made a whole lot more simple for creating repeat patterned and colour separating.”
Emma Kendall said: “All the staff are working hard to promote a product they absolutely believe in, and you can see from the off their passion and commitment and urgency to communicate how great this software.”
She added: “The office is a fantastic hybrid of modern and traditional in a converted yarn mill. Our trainer Kerry was really enthusiastic and bubbly, with the patience of a saint, running a great show while answering an endless torrent of questions from six learning designers. We have learned the basics of AVA in motif cleaning, repeats and colour separation – all features that Photoshop doesn't specifically specialise in. Already I have elaborated on at least 20 designs in three days.”
Also upbeat about the experience was Lydia Knight, who said: “It is a wonderful tool. I wish I had had the opportunity to have used it before. Everyone needs to know about AVA software – it's so clever."
AVA believes there are further spin-off benefits from its sponsorship, including helping Texprint designers with industry contacts by matching up customers with them.
Designers with Debbie Jane Buchan (top right)
Debbie Jane Buchan, Customer Service Director, said: “We were thrilled to see such talented and enthusiastic designers making use of our facilities, producing fabulous designs, all of which were in repeat and colour separated – and in such a short time frame. Just seeing how the designers took to the software and then produced fabulous pieces within five days was reward enough for us.”
She added: “We are passionate about helping the graduates into industry and will do all that we can to help them succeed. We are particularly looking forward to Premiere Vision Designs to see what new work the designers will have created using our software package.”
31 July 2016 by Editor
WGSN, a foundation sponsor of Texprint, believes strongly in the value and importance of supporting emerging creative talent. Its comprehensive report highlighting the designers of Texprint 2016 and reproduced with kind permission of WGSN, was written and created by Zana Ajvazi, a Texprint alumna from 2014, and member of WGSN's Colour, Materials & Textiles team. The report highlights four disciplines - PRINT, WEAVE, KNIT and MIXED MEDIA.
Zana attended Texprint London, the first showing of this year’s designers and an event that provides an opportunity for sponsors, press and industry guests to view and discuss individual projects ahead of the main Texprint presentation at Première Vision Designs, Paris, 13-15 September 2016.
Report reproduced with kind permission from WGSN.com
07 July 2016 by Roger Tredre
How events unfolded at Texprint London 2016 as designers, judges and industry guests gathered at Chelsea College of Arts.
The sun came out for Texprint’s London preview (July 6-7) at Chelsea College of Arts, reflecting the upbeat, optimistic collections on display. The mood was further uplifted by improvements at the venue – Chelsea’s Triangle Building, which has been recently remodelled to let in more natural light.
How are the designers for Texprint selected? Nearly 200 young names, all recently graduated from BA and MA textiles and textiles-related courses throughout the UK, were interviewed through June. From a 13-day marathon of interviews led by Texprint creative director Peter Ring-Lefevre, 24 names were chosen. Helen Howe, an American designer among those selected by Texprint, studied Knitted Textiles at London’s Royal College of Art. “It’s incredibly flattering to be part of this, to have so many people rooting for you,” she said. “It’s a really special experience – we don’t have this in America!”
Designers selected for Texprint 2016
It’s a big jump for many of the young designers. One week, they’re wrapping up their college work. The next, they’re preparing to meet the industry elite in London, and then sell their designs to the world in Paris. Suddenly, they need to brush up on invoicing and copyright law. They also need to refine and focus their designs, which are no longer referred to as student projects – they are, of course, “collections”.
Individual resilience and marketing acumen are talking points this year. In a fiercely competitive market, designers have to be able to explain and market their work effectively. Texprint judge Nadia Albertini noted: “We should be aware of where the industry is going now. The new world of ‘See Now Buy Now’. I’ve been looking at which of the designers are on social media and using Instagram. These days, new designers need to be more flexible and open to collaborations.”
Judges Nadia Albertini, couture embroidery designer, and Fi Douglas, founder/designer Bluebellgray
Print designer Lydia Knight, 22, from Bath School of Art & Design, includes her Instagram address on her business card, which impressed visitors to Texprint. “I use Instagram as a platform to show my journey, from the photo research at the beginning through to the designs.”
Designer Lydia Knight talks with sponsors Debbie Buchan and Duncan Ross of AVA Cad Cam
Another talking point is the growing importance of digital skills. While hand drawn or painted expertise is rightly prized and valued, the modern textile designer needs to be digitally confident. Crimson Rose O’Shea, short-listed for the Texprint Pattern Award, evolved a two-step strategy in her own personal development, focusing on her hand-drawn skills during a BA at Central Saint Martins, then intensively improving her digital know-how with an MA at the Royal College of Art.
Philippa Prinsloo of John Lewis, talks with designer Lydia Knight
From the final 24 designers, a panel of distinguished judges selects the Texprint award winners in four categories: Fashion, Interiors, Colour, Pattern. The shortlist was announced on the same day, but the winners are not revealed until Première Visionin Paris on September 13 (the Texprint designers exhibit at Première Vision Designs, which is located within the main PV).
Judge Andrew Croll, senior design recruiter for Nike Inc.
On July 5, the judges met in Chelsea’s Triangle Building to review the designers’ work. For each award category, the judges took it in turns to give their thoughts and highlight their favourites. Nadia Albertini, a couture embroiderer with an exceptional list of clients, had flown in from New York for the event, and led the way with her well-considered remarks. Then came Fi Douglas, founder of Glasgow’s bluebellgray, who was looking for passion and creative vision, speaking carefully to the designers to understand their creative thought processes. Also contributing their insights based on many years’ experience were Pip Jenkins, the brilliant head of design at John Smedley, and Andrew Croll, senior design recruiter for Nike, an enthusiastic believer in the importance of “proactive recruitment”.
Judge Pip Jenkins, head of design John Smedley
Texprint’s Peter Ring-Lefevre said: “Print design is strong in general this year, with more designs for interiors coming through. Embellishment and mixed media are also impressive, with lots of different interpretations.”
On the following day, July 6, an early morning VIP breakfast included many of the sponsors and supporters who make Texprint happen. Esther Allen, marketing director of Liberty, said Texprint’s support for young designers exactly chimes with Liberty’s current direction. “We’re going back to our core DNA, championing design and uncovering exciting young talent.”
Liberty is in a special position to add value as both a manufacturer of its own products and a retail brand. “From design to buying, marketing and logistics, we can offer a well-rounded picture of how to take product to market,” Allen said.
Esther Allen and Polly Mason of Liberty Fabrics talk with designer Megan Clarke
Global forecasting giant WGSN is a foundation sponsor of Texprint. Helen Palmer, director of materials, textiles & knit, thought this year’s designers presented a good balance of skills. “I like the optimistic colour and exuberance in the prints. Beyond print, there is a focus on craft and storytelling. And mixed media is full of fantasy.”
For many of the designers at Texprint, the thought of selling their work at Première Vision was, until recently, indeed the stuff of fantasy. But that fantasy is coming true – bring on September!
Designer Jacob Monk talks with sponsor Dominic Lowe of Sanderson Art in Industry Trust
05 July 2016 by Aya Noël
Designer Eleanor Pritchard is known for her clean, geometrical designs and has collaborated with companies ranging from Margaret Howell to Monocle. For Texprint 2016 in London, she has created the alumna display. Aya Noël reports.
Eleanor Pritchard didn’t decide to become a textiles designer until she was 27, but as soon as she did her career hit fast forward. After an accelerated BA at Chelsea College of Art, she was selected by Texprint in 2001, and soon afterwards was approached by Christian Lacroix to design textiles for the couture show. Although she had always wanted to set up her own studio, this assignment dramatically sped up her plans. “It definitely accelerated the process,” Eleanor explains. “I knew this is it - I have to do it now.”
Quails Egg blanket. Photo: Kangan Arora
With the help of the Craft Council she bought her first loom and started working at her parents’ house in Worcestershire. She laughs as she remembers how it began. Today she has a studio at the Cockpit Studios in Deptford, south-east London, and a small team to help her with production and distribution. “It’s a bit more routine now,” she admits modestly. “Part of what I really enjoy is thinking about how we present everything: the labels, the website… things I didn’t always think about before.”
The company started out with blankets, which are still the core of the business. “I love working on a bigger scale, and the tactility of it.” She expanded the collection to include cushions and more recently added an upholstery rangeand she will soon introduce rugs as well. Additionally, Pritchard does collaborations with other companies to produce furniture and other textiles. “I love the bespoke projects; they’re important to me creatively. They’re not a big part financially, but I like the dialogue.”
Eleanor Pritchard with Assemblyroom, Otley seat + Sourgough blanket. Photo: Elliott Denny
Eleanor Pritchard finds the inspiration for her designs in industrial and urban architecture. She is attracted to geometric patterns and repetition. “It can be really random,” she says as she points at a passing overground train through the window that brightens her studio. The grey wagons and their vivid orange doors could be the beginning of a whole new collection. “A couple of months ago, we went on the cable car over the river. I looked down and saw a parking lot full of fluorescent concrete-mixing lorries. I have amazing pictures.” Another pattern was inspired by the work of Vladimir Shukhov, a Soviet architect in the 1920s. This mix of architecture and repetition leads to abstract and minimal patterns, with a refined sense of colour.
To achieve the sophisticated outcome for which she is renowned can be a matter of trial and error. Sometimes she gets it right immediately, but often she’ll be experimenting on the loom for hours. “The difference between what’s right and what’s not can be tiny. One more thread can make something that doesn’t feel right perfect,” she says.
She loves the technical aspects of her work, enjoying the challenge of the restrictions associated with industrial production. “There is a problem solving side to it that I love, it’s quite mathematical.”
All the designs are woven and produced in the UK, an achievement of which Pritchard is justly proud. The UK has a fine manufacturing tradition, and she wants to play a part in preserving it. “The whole Industrial Revolution started with the textile industry. It’s sad how much of that tradition has been lost here.” There’s a practical benefit to producing locally as well: “Details are really important to me and I would be very nervous about having to communicate with the other end of the world.”
Quality control and supporting craftsmanship are key to her business philosophy. Fortunately, her clients are thinking that way too. She notes that the consumer has become more conscious about the provenance of products. They often ask where her textiles are made or where the yarn comes from. “I think the food industry has played a big part in this, they’ve made people more aware of issues of provenance.”
She adds: “I’m not a 100% sustainable, but I feel strongly about making something that lasts. I don’t want people to get tired of my designs after a year, I want it to be part of their houses for years.”
For the Texprint 2016 display, Pritchard is showing the Long Eaton bench – a collaboration with Assemblyroom that will be launched at Decorex, alongside a selection of blankets, cushions and fabrics.
2016 Texprint London display, featuring the Long Eaton bench, a collaboration with Assemblyroom
Pritchard has been a long-term contributor to Texprint over the years, regularly sitting on the panel that selects new designers for Texprint. When going through the portfolios, she looks for strong ideas: “The ideas are more precious than the finished product. The ideas are what sustain a whole career.”
Drawings are really important to her as well, since they show how a designer processes what he or she sees. Above all, a portfolio has to prove the versatility of the designer. Texprint attracts a broad audience and a good designer needs to adapt to different styles. “It’s a fine balance between having a signature and showing diversity.”
Pritchard loves discovering new talent. It’s a great way to see what’s out there, and to stay focused. “It keeps me on my toes, knowing that there’s really good work coming up behind me.” The whole industry benefits from young talent, which is why she regrets the introduction of higher fees in art colleges: “Risk taking will really suffer, and risk taking is what makes good work.”
After all, where would the industry be without support for younger designers? “I owe parts of my career to organisations like Texprint and the Craft Council. It feels natural to support emerging designers in return.”
Aerial upholstery collection
29 June 2016 by Roger Tredre
Pip Jenkins, Head of Design at John Smedley, has joined the judging panel for Texprint 2016. We spoke to her about her work.
It’s one of the world’s best-known knitwear companies, with a reputation for quality and creative design. John Smedley was established in 1784 and has the oldest manufacturing factory in the world based at Lea Mills, Derbyshire. The firm’s creative energy is emphasised through its participation in London Fashion Week and London Collections: Men.
Here, Pip Jenkins explains why we need to develop new talent. Jenkins herself joined John Smedley straight from university – and never looked back.
How important is it for you to support the next generation of designers?
The next generations represent the future of the fashion industry. Without them, we won’t be moving forward, so it is incredibly important for people in the industry to invest time and pass on knowledge when working together. This will ensure we get the best from young designers coming into the industry.
We have many work placements coming through the design studio at John Smedley. In fact this is how I got my permanent job here. In my final year at Kingston University, we took part in an industry project with John Smedley, which I won, and I had the opportunity to work with them for two weeks to develop the final designs of my project into their latest collection.
I was then offered the year placement and later offered the men’s designer role – and now I’m the Head Designer. So I truly see the importance of working with the next generation.
Every year we also sponsor a Qest scholar to future their education. We make sure we have a close relationship with the scholar and support them throughout the development of not just the collections but also their brand, and how they represent themselves.
What do you look for in great textile design?
It’s got to be fresh new and existing, something that’s testing the boundaries of age-old processes and brings textile design into a new light.
Why is the UK educational system so good at producing design talent?
I personally feel it’s because the courses are well rounded and the tutors in many universities are from the industry. I know when I was studying at Kingston all of my tutors were still working in the industry on their own lines or for high-end brands. The industry in the UK is also very open to students studying – so many brands and designers offer work placements, so you can learn as well as being hands-on in the industry.
Can you explain the parameters of your job?
As Head Designer at John Smedley, I oversee the men’s, unisex and women’s collections working with the Marketing and Design Director on the creative concept, then filtering this out the rest of the team. I also work very hands-on with product as the design studio is based in the factory. That is a great development plus, as I can see and tweak my designs at every stage of development. This flexibility and close relationship with production really allows us to push the boundaries of traditional knit techniques.
I oversee a team of three alongside many design placements and we produce six collections a year so we’re always busy! Another bonus of working within a smaller team is that I am able to attend and contribute to our campaign shoots and shows at London Collections: Men and London Fashion Week.
What’s a typical day like for you?
Every day is quite different and my role can depend on where we are in the season but at the moment we are currently in the development stage of the AW17 collection. Building spec packs, swatching new textures and patterns, colouring up the collection, working with production on price point and making sure the designs are as high quality as we expect, ordering the new colours and yarns ready to go in the sampling.
But every week is different – two weeks ago I was in London launching the men’s SS17 collection at LC:M.
Where's the growth coming in the business at the moment?
At the moment we are seeing growth coming from our newly introduced unisex collection ‘Singular’, with limited colours, unisex fits and a simple honeycomb texture in our extrafine merino. This product is almost seasonless and translates well for every market we work with around the world. The collection has sold over 3,000 units since its launch in June 2015 and is stocked by the likes of Harrods, Beams, Harvey Nichols, Liberty, Selfridges and many more the world over.
What are the specific challenges of designing for John Smedley?
It’s about pushing the techniques and fibres to the limits and making sure we bring the most luxurious and timeless products to our customer. Fashion can be seen as becoming too throwaway. We are here to make knitwear that goes beyond trends where true craftsmanship is everlasting.
Where do you find your inspiration?
We find our inspiration from a range of things. The latest collection, just about to launch in stores for AW16, draws inspiration from the passion and craftsmanship seen throughout the British abstract movement and in particular the work of pivotal artists Peter Lanyon, Patrick Heron and Victor Pasmore.
Following that we have our second creative series, ‘The Architecture of Knit’, which recently launched at London Collections: Men and took inspiration from the hard lines and attention to construction of the British Brutalism style of architecture.
We are always looking to champion our brand pillars in new and exciting ways, with attention to British craftsmanship in its many forms at the core of what we do.