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Surface View: the Texprint 2016 EDITS collection

15 February 2016 by Editor

A brilliant new home textiles collection from Surface View is a maximalist’s dream – and every designer involved is from Texprint.

The artwork is inspired by nature, while the colour palette is full of richly coloured splendour. The Texprint 2016 EDITS collection is a real treat.

Six of the 2015 Texprint designers participated in the collection, which was developed in collaboration with Surface View, the bespoke interior decoration company. Curated by trend forecasting service USP, it’s a rich maximalist-inspired mix of print and pattern, blending traditional and modern themes with a sophisticated touch.

Designers participating include Texprint Colour Award winner Emma McCluskey, Bryony Bushe, Emma Brooks, Jessica Pickard, Nicola Costello and Stephanie Rolph.

The new collection is now available to view and buy on the Surface View website. The designers receive important kudos and recognition – as well as royalties on all sales.

Included in the product mix are printed cushions, lampshades, window films and large-scale canvases. It's part of an ongoing and acclaimed series of curated collaborations (EDITS) developed by Surface View.

This year’s curator – Unique Style Platform (USP) – is a London-based trend forecasting service for the fashion & lifestyle industries founded by Jane Kellock in 2013.

Jane, an industry veteran who has held senior forecasting roles at WGSN and Stylus and also in industry as a designer, explains how USP operates: “We work with clients on bespoke trends using both physical and digital approaches. For example, we do digital reports but also supply moodboards and colour swatches.’’

She adds: “There’s a real demand in the market at present for a bespoke service that makes sense of the massive amount of information out there. We create trends that are timely and relevant according to our clients’ needs.’’

Jane, who runs USP from studios in ultra-hip Haggerston, east London, has worked with Texprint for many years, lending her expertise and experience to the panel that filters the final selections of young designers each year.

The quality of designer is steadily improving, she notes. “It’s a particularly strong group this year, with a great mix of commerical and future-focused designs. Texprint is really going from strength to strength – and it’s so well respected in the industry.’’

Working to the broad theme of maximalist – and based on the designers' work for Texprint 2015 – a cohesive collection has emerged. Jane Kellock says: “The theme focuses on surface texture and an eclectic mix of print with slightly eccentric colour combinations. Pile it all on! We’re thinking of inspiration from the recent Gucci collection. There’s a bohemian flavour to it but with a modern edge.’’

Some of the designs were originally developed for fashion garments, but they work beautifully in the home textiles context too.

Founded eight years ago, Surface View is part of digital print company VGL. It uses state-of-the-art print technology for application to a wide variety of interior products, building a reputation for being able to print images on virtually anything –  even birch plywood.

The idea for a collaboration evolved in conversations with managing director Michael Ayerst following a visit to the Texprint exhibition in London in 2014. Based in Reading, Berkshire, the company already has a long association with Texprint, producing the signage for events in London, Paris and Shanghai.

Alissa Sequeira of the Surface View marketing team says: “It was great to see the fresh ideas that designers had, and great for us to support emerging British talent. We’ve been very impressed with the standard of work and are confident that this year’s edit will be every bit as successful as previous years.”

Texprint alumna story: Charlotte Beevor, surface pattern designer

03 January 2016 by Roger Tredre

Charlotte Beevor at work in her studio

Designer Charlotte Beevor was an award-winning star of Texprint 2014. High time to catch up on her progress since.

Charlotte Beevor’s eye for unusual colour combinations and brilliant sense of composition made her a standout name for Texprint 2014, winning Texprint’s Colour award. The young designer, who studied at Leeds College of Art, also quickly found her work had commercial appeal – she sold four designs within the first hour as an exhibitor at Première Vision with Texprint.

Since then, she has been steadily building her reputation and working on a number of projects. She talked to us about her memories of Texprint and how she has created her own business since then.

Cushion collection designed for made.com

It’s a year since you were with Texprint. How did the experience change you – and help you?

The experience was great in many ways. The mentoring days were fantastic because we were given information and insights into everything from legal issues (a lawyer from Liberty spoke to us about copyright) to invoicing and through to preparing for Première Vision – making us a bit more knowledgeable than other graduates.

The show in London really helped as it was only open to industry professionals and press. Those days were priceless: an opportunity to be in a room with such an array of important people, extending our communication and networking skills instantly.

My involvement with various Texprint awards gave me even more opportunity to discuss my work. By the end of the week I became quite fluent in talking about it – good practice for Paris and future shows! I was lucky enough to be shortlisted for an array of awards and won some great opportunities, including the chance to travel abroad to Italy and Vancouver, working with Lisa S.P.A in Como and Lululemon Athletica in Canada.

These opportunities really expanded my knowledge of the industry, learning to work within different parts of it. They also allowed me to grow as a person – thinking of how I travelled to new places like Vancouver, I have never had the opportunity to visit anywhere that far away before, so I’m entirely grateful for that.

Cushion collection designed for made.com

What was the last Texprint project you were involved with?

Working with Lululemon. Myself and Federica [Tedeschi] went out to Vancouver for a couple of weeks to be briefed on our projects and get to know the company. Unfortunately, we couldn't go for the full three-month placement because of Canadian visa restrictions, so we came back and worked from home and Skyped the office of Vancouver every week. Then we went back out to Vancouver at the end of the placement to present our projects. I was working on prints for SS16, so I'm hoping to see some of the sportswear in the collection in the spring.

Tell us about what has happened since then.

I have launched interiors collaborations with sofa.comand made.com. I’ve also spent a lot of time working on an exciting stationery collaboration and window furnishing collaboration that will both launch around September/October time in 2016. I am very excited about them!

I also exhibited in 2015 at New Designers One Year On at the Business Design Centre in Islington and I am planning on launching a new collection at London Design Festival.

Do you think your creative work has changed over the past 12 months?

I do. Through working on so many different collaborations I have been lucky enough to have a lot of creative freedom. I feel this has really helped to solidify and evolve my brand. At the same time I equally enjoy working with a brief and being able to mould it and put my stamp on it while collaborating closely with the companies to bring it to the end product.

Charlotte Beevor at work in her studio

What are your plans for the future?

The immediate future is to focus on finishing my stationery and windows furnishings collaborations ready for launch in late 2016.

The longer term plan is to work towards launching my own products and a new collection and exhibiting in London to find new stockists and customers. Then I hope to start exhibiting internationally at interiors shows in Paris and New York (a little way off yet!). I would also love to continue creating collections and collaborating with different companies if the opportunities arise. It’s become a really great part of my brand and one of the things I enjoy the most.


Cushion collection designed for sofa.com

Pioneering partnerships: alumna Emma J Shipley

13 December 2015 by Editor

Emma J Shipley is a supreme collaborator.  Following her graduation from the RCA and selection for Texprint 2012, Shipley has created a successful eponymous brand which takes her other-worldly illustrations onto scarves, clothing and accessories.  She has also worked on a number of collaborations, with among others Disney, working on licensing projects including the recent Star Wars film.


A recent blog post by Emma J Shipley highlights another fascinating collaboration under the banner of WORTH, which saw her working with traditional weavers and metalworkers in Venice and showcasing the resulting accessories in London.

In Emma’s words:

“We were delighted to be selected to participate in the WORTH project back in 2014, and last week saw the showcase of the results of the project, in a private view exhibition at Rook & Raven Gallery in London. In partnership with Centre for Fashion Enterprise (CFE), Institut Français de la Mode and funded by the European Commission, WORTH was created to develop cross border designer and manufacturer collaborations. The project aimed to create innovative new products, foster new creative relationships and showcase the incredible skills in Europe. 

“Each designer and manufacturer pairing was given €10,000 to develop and create completely new products. We were lucky enough to collaborate with Tessitura Luigi Bevilacqua, an incredible Italian fabric manufacturer specialising in silk jacquards. Together, along with 34 other designer/manufacturer partnerships involved, we explored the boundaries where art and craftsmanship meet.

“Based in Venice, Tessitura Luigi Bevilacqua is one of the oldest family-run weavers in Italy, using 18th century looms to create their handcrafted fabrics. Using traditional techniques, each stage in production is carried out by hand. Their fabrics are refined works of art and have been created to furnish royal palaces and theatres around the world. 

“Making the most of Bevilacqua's excellence in weaving, we wanted to combine this with our fantastical, modern illustrations to create something new. The sampling process took place over the course of a few months, and included a trip to Venice to see Bevilacqua's incredible workshop and original looms.

“After developing artwork from the original drawings, first samples were produced using selected silk jacquard weaving techniques, before being refined and produced in the chosen colour palettes of white, greys, blues and black. To complete the project we collaborated with MARVEN, an artisanal precious metalworker based just outside Venice, to create the sleek palladium-coated metal frames. The outcome is a capsule collection of intricate modern clutch bags and (we hope you'll agree) a true collaboration between art, design and craftsmanship. 

“Other partnerships which were part of the WORTH project include: British footwear designer Joanne Stoker who collaborated with French outer sole manufacturer Reltex to develop a collection of brogues with natural soles; and womenswear designer Holly Fulton who collaborated with lace manufacturer Sophie Hallette and fabric designer Lauranne Guyomard.

“The inspiring exhibition featured a selection of creations which evolved from the unique partnerships across a range of craft and technologies, such as eyewear, footwear, jewellery, leather and textiles. 

We are really grateful for the support of the European Commission and CFE on this project, and we hope to continue working with European artisans in the future to develop new and innovative products.”


Texprint heads east: Intertextile Shanghai Apparel Fabrics

25 November 2015 by Editor

Texprint headed east this autumn to exhibit for a third consecutive year at Intertextile Shanghai Apparel Fabrics (October 13–15), sponsored by Messe Frankfurt (HK) and The Woolmark Company.

Designers Ciaran Moore and Jessica Leclere both exhibited at Intertextile, gaining an invaluable first experience of the Asian market. They were accompanied by Texprint representative Sarah Cheyne.

The stand was located in the new Verve for Design section of this vast international textile fair.The signature print for the section was designed by Ciaran Moore and selected by Messe Frankfurt (HK) – a great talking point and introduction to Moore’s work, attracting plenty of attention.

At top of image: Ciaran Moore's design for Verve for Design area

The Woolmark Company funded space for Jessica Leclere, winner of the Woolmark Company Texprint Award, who showed her exciting and innovative knit collection. Examples of the work of other Texprint prize winners, including Emma McCluskey, Joanna Robins and Anja Alexandersdottir, were also displayed.

Jessica Leclere talks to visitors

It was very pleasing to see three Texprint 2014 alumni designers – James Skinner, Jane Han Zhang and Tali Furman – showing at Intertextile Shanghai with their joint venture Fairbairn, Wolf and Skinner. They also enjoyed a very good response.

Texprint had support in Shanghai from two students, provided by Course Director Xi Chen of Zhejiang University, helping with much-needed interpreting. Ying Ying Chen and Shairmu White were excellent, very helpful and full of enthusiasm.

Ciaran Moore chats with a visitor

The exhibition itself was very busy with much interest from companies in Asia as well as from Russia, Europe and North America. The designers' work was well received with positive feedback from a wide range of companies.

Jessica Leclere with Paul Alger of UKFT and colleague

It wasn’t all work – there was some spare time to explore Shanghai and visit the ancient temples, gardens and maze of side streets as well as big tourist sites such as the Bund, with its spectacular views of the river and the skyscrapers of Pudong lit up at night. 

Sarah Cheyne with Xi Chen of Zhejiang University 

Students Ying Ying Chen and Shairmu White who assisted on the Texprint stand

Ciaran Moore's design for Verve for Design area

Busy Texprint stand

Busy Texprint stand

Jessica and Ciaran explore Shanghai


Texprint alumna story: Bonnie Kirkwood, woven textiles designer

15 November 2015 by Kathrin Huesgen

Bonnie Kirkwood on her stand at Première Vision Designs, September 2015

Texprint 2004 alumna Bonnie Kirkwood has set up her own business in London designing sophisticated woven fabrics for the high-end global market.

We’re meeting in her London studio in Woolwich, a ten-minute walk from Woolwich Dockyard Station, out in south-east London right next to the Thames. Bonnie Kirkwood, a designer of bespoke woven textile designs both for fashion and interiors, was selected to participate in Texprint back in 2004 and has been building her business ever since, while also working as a consultant with fabric mills.

Her designs are intricate with a traditional focus but modern edge. They are beautifully woven, based on carefully selected silk, wool and fancy yarns. She has a true passion for colour, recognised when she won the Worshipful Company of Dyers Colour Award back in 2007 during her MA in Constructed Textiles at the Royal College of Art, London.

Our discussion explores the hard-working realities of running your own studio. One of the biggest challenges, Kirkwood notes, is “that you can’t physically do everything yourself”. The reality of her business sees as much time allocated to admin as to the actual design work – evaluating production and manufacturing opportunities while also seeking to remain focused on her customers.

In addition to this, the set up of the loom and actual weaving time is a long process in itself, not to mention the time required for research and the thinking that goes into the artworks, mood boards and technical sketches her designs are based on.

How do you remember Texprint and how did it help you?

Texprint for me was after I finished my BA degree at Winchester School of Art. That was in 2004 – that’s 11 years ago. It was a huge help. Texprint provides a lot of support and opens your eyes to the realistic commercial world outside the student life and the student courses.

You are helped with all the information you need for invoicing, pricing, copyright, dealing with customers, and Texprint was there every single day to support me during Premiere Vision and the view in London.

And then you’re obviously meeting everyone else who is selected for Texprint… and everyone is so different. You gain a good network of potential future designers and contacts too.

How did Texprint help you understand the reality of the commercial world?

By being part of the private view in London and having the stand at I think it probably shaped it more as I knew that I wanted to eventually work in this way and sell samples. It was a very good experience to try that out at Première Vision Designs. you are exposed directly to the industry and the commercial world. Without that experience I think it would have been quite hard to understand and comprehend. Then Texprint supplies you with all the information on pricing and copyright etc.

Did that change your ideas about what you were going to do? Or did it shape it more?

I think it probably shaped it more as I knew that I wanted to eventually work in this way and sell samples. It was a very good experience to try that out at  Première Vision Designs.

How many samples do you produce per season?

Approximately one hundred.

That’s a lot!

Yes! I have to work to at least two main seasons per year – spring/summer and autumn/winter with mid seasons too. The collection needs to be new and refreshed for each collection, but also I am designing for all levels of the market and a variety of customers. Also, interiors is now just as fast-paced as the fashion industry. So there is no let up in between seasons either.

And you are consulting as well? On fabric concepts?

Yes, mostly with Italian furnishing fabric mills. I put together the new trends and colours to follow, then work directly with the mills to develop the designs. This is mainly for the UK high interior design market. They then sell the production to the relevant companies.

Ten years is a long time. Was there any time where you felt this was going to be really difficult?

All the time! Building, maintaining and growing your own business is a continuous hard process. During the initial years after Texprint I was working full time in design positions in fashion and interiors – at Designers Guild and Paul Smith, gaining great experience in the industry, but this meant that with starting my business, working evenings and weekends was necessary.

What do you think about new challenges for the industry, such as sustainability?

It has to be sustainable, and it will. I think a lot of people talk about it but no one’s really taking a hold of it. But hopefully in the next five years it will all become a huge part of the design and development in textiles, fashion and interiors as well – for people to understand and accept it as well.

Will the challenges of sustainability change the way Texprint works?

Maybe it has to start with the young designers and the students. The students themselves become interested and can push sustainability. And then Texprint [picks up] on that and accepts those students within the selection as well. That would help promote it.

Your advice to the new generation?

Make the most of being part of Texprint. Be sure to stay in touch with other students and the team – and be aware what an amazing experience Texprint offers.

Contact Bonnie:   www.bonniekirkwood.com+44 (0)7813 666907 / bonnie@bonniekirkwood.com

Alumna stories: Materials Alchemist Lauren Bowker

07 November 2015 by Editor

The Unseen's colour-changing headpiece for Selfridges’ Sagittarius Christmas window. Image: Selfridges

As ever Texprint 2011 alumna and materials alchemist Lauren Bowker is creating a stir.  In recent weeks Lauren’s latest work has featured in Vogue, Wired, Dezeen, Creative Review, the Evening Standard and Daily Mail among others.

We asked Lauren what the term 'materials innovation' means to her, and why it is important in so many of our life encounters?  Her response: “Materials in my view are a platform to communicate visually between both human and their environment. Materials are everywhere; I believe innovation is coming up with a clever and applicable way of harnessing the dormant materials, giving them further purpose.”

Lauren Bowker (right) and team. Image: creativeconomy.britishcouncil.org

Sarah Mower in Vogue.com calls Lauren ‘London’s First Fashion-Channeling Witch’ and goes on to write: This week I met a witch—a fashion-channeling witch—who proceeded to blow my mind. Lauren Bowker lives and works in London, formerly in the cavernous Georgian cellars of Somerset House and now in new labs, where she devotes her life to creating formulae capable of transmitting what she describes as, “Everything in the atmosphere we just can’t see, as humans.” Bowker tells me she grew up “Interested in the invisible—in ghosts and X-rays, and trying to work out how to manipulate nature.” She may look like a latter-day Batcave goth, but, as I found out, the truly spooky thing about this former textile-design graduate, who permanently dresses in mourning (more of that in a minute), is the supernatural size of her intelligence. To read full article CLICK HERE

Lauren’s umbrella brand The Unseen uses chemistry to create reactive fashion and accessories that alter in response to environmental change.  This autumn sees the launch of its debut limited edition accessories line AIR in Selfridges, "The accessory collection derived naturally from our wearable Air sculptures that we made last year," Lauren told Dezeen in a recent interview. To read full article CLICK HERE

The Unseen's AIR accessories line in Selfridges

Rosamund Urwin writes in the Evening Standard: If you were a child of the Nineties you probably remember colour-changing T-shirts and rings. I had both: a hand-me-down T-shirt from my sister that repeated washing meant no longer turned from Fanta orange to white in the sun but stayed a sad shade of sludge whatever the weather, and a tortoise ring that I broke by running under far too hot a tap. Lauren Bowker, the 30-year-old creator of the company The Unseen, describes her new designs as like those rings “but on acid”. For, two decades later, chameleon clothing has gone haute: The Unseen’s debut accessories collection launches at Selfridges. Infused with a special ink, it features a winged leather jacket that changes shade to reflect aerodynamic patterns created by the wearer’s movement (a technicolour dreamcoat for 2015), a rucksack whose colours reflect air pressure, temperature and light (indoors it almost always appears black but it turns green and red outdoors), and a phone case that changes colour as you touch it and with temperature changes. Prices start at £35 and go all the way up to £1,750.  To read full article CLICK HERE

The Unseen's AIR accessories line in Selfridges

Rachael Steven in Creative Review writes: The new collection for Selfridges includes a heat reactive scarf that responds differently to different sections of the body, a wallet and phone case covered in touch-sensitive formulas that respond to wearer’s circulation, and a leather backpack that changes colour in response to heat, light, shade and changes in air pressure. “The scarf has five formulas hand-painted within each devoréd section – we observed how different sections of the body react to specific material and coded each formula to respond to areas like the neck and head, causing deeper colours to flourish around the face then around the body,” explains Bowker. “This gives the user a sense of movement as they wrap the scarf around them in different positions.”  To read full article CLICK HERE

The Astrolounge at Selfridges, featuring items from The Unseen’s AIR collection. Image ©Matt Writtle, courtesy of Selfridges

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