For all Press / PR information
Texprint London 2012
TEXPRINT IMAGE GALLERY
More images in our photo gallery
Texprint talks: Gilles Lasbordes, MD of Première Vision
17 June 2013 by GGHQ Fashion Intelligence
Gilles Lasbordes is the managing director of Première Vision S.A., the leading international textile and fabric show, otherwise known as PV. Première Vision was established in 1973 as a group presentation by 15 Lyonnais silk weavers. Today the Paris-based exhibition is the corner stone of Première Vision Pluriel, the group of six shows – Première Vision, Expofil, Indigo, Modamont, Le Cuir à Paris and Zoom by Fatex - that service the fashion industry from fibre to leather, accessories, textile designs and fabrics. With over 1,900 international exhibitors, the show group brings together 58,000 fashion industry professionals in Paris twice a year.
Each September, through the generous sponsorship of Première Vision SA, the 24 selected Texprint designers are given the opportunity to have their own exhibition stands at Indigo, the show of original textile and surface design. And the event also hosts the Texprint prize giving ceremony. Gilles is passionate about supporting and nurturing young design talent as he tells Texprint:
Congratulations on your recent promotion. Can you tell us about your new role?
I started working for Première Vision in 2004 and I recently became the managing director of the Première Vision group. My role involves strategic and operational management, I am closely involved with our ongoing worldwide events – in total we have 24 shows per year. I am more directly involved with the Indigo (Paris, New York, Brussels), Modamont and Expofil shows and many back office activities that make our events a reality.
Left: Gilles Lasbordes
Paris looks like a beautiful place to live – good food, gorgeous architecture and a rich culture - what is a typical day like for you?
There’s no such thing as a typical day for me. When I am not travelling, I often have meetings to discuss and prepare the upcoming exhibitions whether they are one month or up to a year in the future. But I do have a motorbike which I ride everyday – I love travelling around Paris, seeing the beautiful architecture and monuments.
Première Vision has exhibitions in New York, Sao Paulo, Brussels, Moscow and Shanghai as well as Paris, and you hold exhibitor meetings around the world, how often do you travel on business, what do you enjoy about it and what are your favourite places to visit?
I travel a lot because we are an international company and Paris is an international show not only from the exhibitors’ point of view but also from the visitors’ point of view. I really don’t have a favourite place to visit. Every country I visit is different, each city is very diverse and what I love is seeing the diversity of the fashion industry. Also now with globalisation brands have become global, but I enjoy seeing local brands as they make the market more interesting and diverse.
The exhibitions Première Vision, Modamont and Indigo have direct links with and support three organisations that nurture new design talent. Can you tell us why you have made this an integral part of your activities?
Première Vision, Expofil and Modamont all focus on the creative part of the fashion industry - we are not a trade show for commodities. When you are a trade show organiser and your event represents an industry on such a large scale, you have to support the industry you work for. Whether they will work for textile or fashion companies, we believe that graduate designers are the future of our industry. We support the Hyères International Festival of Fashion and Photography, International Talent Support and Texprint because we want to help a new generation of creators to emerge. We want to help that generation to maintain a highly creative fashion industry in the future. Texprint is very textile-oriented so we share the same roots, textiles is what Première Vision is made of.
Nearly half of Indigo’s exhibitors are based in / trained in Britain. What is it about the UK’s art school system that produces so many creative talents?
Well from my point of view, UK art and design schools have a good balance between being creative and being market-oriented. This understanding of the industry, the mix of high creativity and business, is what companies are expecting from their new employees.
What does the addition of the Texprint group in September add to the mix of studios at Indigo?
At Indigo studios present their own culture, DNA and artistic direction. The Texprint designers give us boundless creativity and innovation, it is our R&D. They often present something new and innovative, for example, in the way they mix various innovative textile techniques such as print and embroidery, print and knitted garments or 3D textiles with unusual raw materials.
Being able to show their designs at Indigo is a really exciting opportunity for the 24 graduate designers; do you have any advice for this year’s Texprint’s group?
I’m hoping to see lots of successful sales and so the designers need to be prepared to negotiate! They should have an idea of prices and also network to make useful connections at Indigo. The designers have to be ready to meet with professionals and act in a professional manner. But I know that they are very well trained by the Texprint team and when they come to Paris they will definitely be ready to make the most of this opportunity.
Trend Forum at Première Vision
The Selection Process 2013 – judge Damian Shaw
12 June 2013 by GGHQ Fashion Intelligence
The role of a merchandising director requires an extensive knowledge of a brand’s DNA – thinking about how best to translate an aesthetic for a globally diverse clientele. Damian Shaw is currently championing that task for McQ at Alexander McQueen, one of fashion’s most prominent luxury brands. On 9 July, 2013, he will join four other fashion industry experts to select special prize-winners for Body, Space, Pattern and Colour among the 24 chosen Texprint designers.
Damian Shaw / Images of McQ autumn winter 2013 collection: Style.com
Proving that an eye for style is often a small portion of the creative talent behind most in the fashion world, many may be surprised to know that Damian completed a degree at the Royal College of Music in classical piano performance before deciding to move into the world of fashion. His passion first took him to Liberty of London where he served as a buyer for nine years until moving onto become the merchandise and marketing director for the international ready-to-wear line at Chloé in 2003. After a brief stint in the same position at Julien Macdonald, Damian found his way to McQ in April 2011.
Damian views textiles from a commercial point of view, which involves examining not only the physical properties such as structure and colour, but also every aspect of its commercial potential including wearability and desirability. He shares Texprint’s passion for promoting new growth within the textile sector: “The industry runs on fresh talent. It’s important to nurture this symbiotic relationship by supporting the new generation of designers. Both sides have a lot to learn from each other – designers gain practical experience while the industry gets a fresh burst of new talent and a renewed perspective.”
Seeing as the Alexander McQueen label, and consequently McQ, has been built on design ideals that glorify a union of innovation and extreme aesthetics, it’s no wonder that Damian is enthusiastic about the circulation of new blood within the industry. Young talent often needs a platform and some support along the road to becoming the leaders of tomorrow. The company has a history of providing designers with life-changing support – Lee McQueen was helped early on by mentor Isabella Blow. Even current creative director Sarah Burton was once an intern before becoming the protégé of the late McQueen. Damian affirms that “it’s vital for those of us in the industry to pass on as much information as possible to the next generation of design talent here in the UK”.
Marie Parsons: My first year at Jaguar
10 June 2013 by Editor
Marie Parsons (Texprint 2011) writes for Texprint about her experience of working with auto manufacturer and heritage brand Jaguar:
Jaguar is synonymous with great British design, luxury, and honesty in materials. I have long felt an emotional attachment to the brand: my dad owned Jags and being driven in his car always gave me a real sense of occasion. So when I was approached at my RCA show in 2011 about a role in the company’s Advanced Design team as a Colour and Materials Designer, I was understandably delighted.
Marie Parsons, left, with Jaguar creative specialist Siobhan Hughes
‘Jaguars are a perfect blend of luxury and performance in a very contemporary and emotional product. We believe our design teams are leaders in not just car design, but also in defining the luxury experience. We endeavor to find the best design talent from across the world, not just car designers but people who have the best insight into fashion, materials and product design. More often than not these sorts of talents are found in abundance at the Royal College of Art.’ Julian Thomson Advanced Design Director-Jaguar Cars
In my experience, working in the automotive industry is rarely considered as a likely option for textile designers. I specialised in mixed media at the RCA and in stitch at Chelsea College of Art & Design. During that time I sold freelance work to the New York market; to DKNY, Calvin Klein, Kenneth Cole, DVF and Armani Exchange, and later to NIKE when showing at Indigo as part of Texprint.
While the fashion industry was always my target, and continues to be my richest source of inspiration, at the RCA I concluded it was materials, their capabilities, restrictions, unexpected application and combinations that really excite me. I saw the opportunity to work for Jaguar as a challenging and welcome progression, an environment in which I could continue to explore new materials and processes in a more considered, luxurious and sophisticated manner.
At the RCA, my work was about reinterpreting traditional hand embroidery techniques in innovative ways, through digital machine embroidery and laser cutting. My graduate project was a collection of digitally embroidered shoes and a luggage trunk both inspired by the depth of reverse applique and quilting, juxtaposing rigid plastics alongside tactile latex.
Left: Marie Parsons with Professor Clare Johnston RCA at Texprint Coutts dinner March 2013; Centre and right: ©Marie Parsons: RCA 2011 final collection
My work today continues to be inquisitive and innovative. In Jaguar’s advanced design department, we work five to 10 years ahead. As it takes typically four to five years to develop a car, our role is to discover and develop advanced material ideas for car interiors and exterior details. We define the colour and material strategy and design intent of pre-production and concept vehicles.
I work in a small team of three designers, all from non-automotive backgrounds, led by creative specialist Siobhan Hughes. Our diverse backgrounds make for a dynamic and well-informed team, each bringing something unique to the table - with an area of specialism and acting as project manager for our individual programme.
We explore the 'A' surface materials: these range from woods through to rubbers, flooring, specialist paints, plastics, metal, leather, fabrics and integrated technologies; and also the 'B' surface materials which take into account eco and sustainability issues, after life and lightweight material solutions. We work to recreate familiar techniques such as perforation and embossing, embroidery and quilting.
A typical day could involve anything from rendering material ideas on an interior sketch, trend and market research, analysing material lab results, presenting proposals to senior management, checking colour in the light box, or sampling new finishes and techniques with the painters and trimmers.
My favourite aspect of the job is the continual learning process. We have so much technology and expertise on one site - in a five minute walk you can observe a clay car being modelled to scale by hand, parts being 3D printed, seats being hand-stitched, and then interact with the finished product in a virtual reality pod.
I’ve had to take on board a vast amount of information to over the last 18 months. Cars are incredibly complex objects of design and engineering and there are many factors to consider when putting forward new ideas. Materials must be premium quality with the correct aesthetic values but the longevity to still look good in the vehicle in 10 years time.
Despite working in the advanced team, materials and colours must be fit for purpose. There is a skill to retaining creativity while working with restrictions and to budget. I have learnt to employ a different eye when researching, one that is Jaguar specific, and to consider feasibility, brand values and the customer in everything I do.
Being well informed and up to date with trends and technology is crucial. My role has involved a great deal of travel in the last year - visiting suppliers, trade shows, exhibitions, mills, factories and universities - with the highlight of 2012 being an extensive research trip to China.
It’s an exciting time to be at the company, Jaguar is investing in and nurturing young designers who are given real responsibility and the chance to work alongside experienced senior designers, modellers, and technicians; with exposure to the wider business, meeting with PR, marketing and purchasing, allowing for constant and fast paced development. This energy and spirit of community makes me feel integral to the future of a thriving iconic British brand.
The Selection Process 2013 – judge Marios Schwab
20 May 2013 by GGHQ Fashion Intelligence
Who better to select Texprint’s emerging designers of the future than Marios Schwab, one the UK’s own rising stars of fashion? His intelligent collections have not only ensnared the attention of key players in the industry, he has amassed a celebrity following that includes the likes of Clémence Poséy, Chloë Sevigny and Jessica Chastain. Marios’s cutting edge designs are praise for their astute attention to cut and detail – both of which he says can be led and even inspired by innovative textiles.
Marios Schwab: spring summer 2013 collection
A 2003 graduate of Central Saint Martins, the Greek-Austrian designer finds London “an eclectic and inspiring city to work and live in” while building his eponymous label. After all, it was here that he received his mentoring from CSM legend Louise Wilson before being taken under the wing of the Fashion East initiative which helped launch his first two collections at London Fashion Week. In 2007, Marios gained acclaim after he pushed the boundaries with his first solo collection at LFW. His London successes led to him being appointed the creative director for the iconic American brand Halston, revived from one of the most popular international fashion brands of the 1970s. More recently he has collaborated with Swarovski Elements and sunglasses brand Mykita, and in 2012 he was nominated for the BFC/Vogue Designer Fashion Fund. Bringing his designs to a high-street audience, in 2007 he designed a capsule collection for Topshop and in 2012 he launched his first of four collections for Debenhams.
Marios Schwab: autumn winter 2013 collection
The designer still remains one of the UK’s brightest talents and he attributes much of his success to the help that he received as a young designer. Marios is eager to return some of the career assistance that he was once given: “The support Texprint offers to the next generation of textile designers will shape them and guide them within their careers. It’s vital to keep the tradition of textile innovation alive in the UK – building on the rich heritage and expertise of the industry while ensuring it looks to the future.”
Marios’s choice of fabric is often a point of inspiration: “I like to push myself – incorporating new technological developments in cloths and combining them with traditional crafts such as lace-making to create an original Marios Schwab design.”
He encourages those starting out to constantly challenge their designs, be honest self-critics and, most importantly, hold on to determination, because “desire shines through”.
Emma J Shipley: out of this world storytelling
12 May 2013 by Editor
The work of Emma J Shipley is very much rooted in skilled draftsmanship - her drawings intricate, her storytelling out of this world. These are certainly a great strength, but what has set Emma apart since graduating from the RCA and being selected for Texprint 2011, is her astute and instinctive grasp of what social networking can do to drive awareness of her brand.
Texprint caught up with Emma to find out more about her inspirations, her dynamic approach to creativity, and the third-party collaborations she has been working on since graduation.
©Emma J Shipley: autumn winter 2013
-Did you always plan to set up your own business?
After I graduated from my BA in Textile Design (from Birmingham City University) I worked for a print design studio in London. This was a great experience and taught me to work under pressure and to tight deadlines, but I also realised that I really wanted to carve out my own path rather than working for someone else. I went on to study MA Textiles at the Royal College of Art as I knew I needed to develop further and I wanted to have that platform to launch my label from.
-In what ways has Texprint been able to help or benefit you?
Being able to get my work in front of so many influential industry figures so soon after graduating was invaluable. The different exhibitions in London, Paris, Shanghai and Hong Kong brought income through sales and commissions, which was so important right at the start of my label. I also met suppliers who when they saw my work at the Texprint stand at Première Vision, wanted to support me in the early stages, one of which I'm still working with to produce my luxury scarves. Texprint has also been there when I've had business or legal issues I needed advice on.
At retail, from left: Bon Marche, Fortnum & Mason, Liberty
-How helpful has it been to communicate online via Twitter etc - how essential is social media for someone setting up their own brand identity do you think?
I've used Twitter for quite a few years - since before graduating and starting my label. I've always found it to be an amazing tool for connecting with others and finding out information in the areas I'm interested in. So I still use it for these reasons, and for my label it's the most direct way of communicating with a wide audience. Being able to instantly share an image of what I'm working on at that time, or tell people about an event I'm doing is an amazing thing. The fact that it can be a conversation means that people do feel engaged with the brand and I also get feedback on what people are really responding to or what they get excited about.
I've also found Instagram great as it's purely image-based, which really suits the creative industries. I follow lots of other users (photographers, designers, magazines etc) - it brings me inspiration as well as letting me share my own images. I'm new to Vine and although I'm personally more engaged by still images, being able to create and share short video clips can be really useful for events or exhibitions.
London Fashion Week, February 2012
-Do you work from home or studio?
A space in a shared studio. I started working from home after I graduated from the RCA but I much prefer having a workspace separate to home, and I really enjoy sharing with others who are working in creative fields. The RCA was quite an intense experience - being in the studio surrounded by other designers all the time - but it's very inspiring and I really missed that when I was working from home on my own.
-What have been the key challenges - managing accounts, space to work, finding manufacturers, contacts?
There have been major challenges in all areas to be honest. It's been important to find people I can go to for advice… As I'm experiencing all these things for the first time there are bound to be issues and hurdles to overcome. I've also roped in my dad to help with a lot of the business side to enable me to still have time to design for my own label as well as commissions for big companies that I've been working on.
©Emma J Shipley: autumn winter 2013
-How do you find it working on your own, is it sometimes hard to motivate yourself? Or do you have help, an assistant?
I haven't found it hard to motivate myself at all as I've been so busy since graduating. Also as I'm in a shared studio it's a nice balance between being able to focus on my own work and also having a social and creative environment. Commissions for other companies always have short deadlines (they want everything yesterday) so I just get on with them. Designing for my own label can get pushed back if I'm working on commissions, so then when I do have time to work on my own designs I'm rearing to go. Obviously I'm passionate about my work so it's not a chore. I get excited about starting new designs and collections. I do take on students to assist me part-time, more on the sales, marketing and events side, and it's great to have a fresh look and input on what I'm doing.
©Emma J Shipley: autumn winter 2013
-Where are your scarves printed - in the UK or abroad?
The scarves are printed in Como, Italy, with a supplier I found through Texprint. I started out manufacturing in the UK, but unfortunately I found the suppliers unreliable and the end product ended up being too expensive even in the luxury market. The quality is better in Italy as they have a long history of silk printing - buyers from stores often comment on the amazing quality of the final pieces and I'm always pleased with them, too.
-Has anything you've worked on gone into production under license? With which companies?
Yes - I've worked on a project with Camira Fabrics, it produces textiles for commercial interiors. This will launch at Clerkenwell Design Week in May as Emma J Shipley x Camira. I've also recently launched a collection of wallpaper and interior fabric with Osborne & Little called Kayyam.
Collaborations with Anthropologie (wallpaper) and Camira (two new fabric designs)
Collaboration with Osborne & Little
-What captures your imagination - as your drawn work is quite naturalistic, do you draw from life or photos?
Inspiration comes from all over the place, but my main visual inspiration is always the natural world. This can come from trips I take (I recently went on safari in South Africa which was hugely inspiring for me), photographs, films, artists and so on. I'm also inspired by ideas and books - especially Richard Dawkins’ book on evolution and Ian Stewart’s on chaos theory. My drawings can take days and weeks, and are never an exact replication of something but are a combination of different inspirations as well as coming from my imagination. So I always work in my studio, using lots of different images and photographs.
-What do you love most about what you're doing, and like least?
I love the drawing and design process the most… I enjoy the business aspects too as its all part of it, but there is a lot of admin, which isn't always thrilling.
-What are your plans for the future?
To continue to grow my label in the UK and overseas, and to work on some interesting collaborations with bigger companies that will raise my brand profile.
Emma has been nominated for the UKFT Rise Newcomer Awards (2013 UK Fashion and Textile Association awards) due to take place on 23 May 2013. We wish her success in this and in the future.
Sample sale, April 2012
©Emma J Shipley: spring summer 2013
Texprint talks: Emma Mawston of Liberty Art Fabrics
25 April 2013 by Editor
Emma Mawston, head of design for Liberty Art Fabrics, is not surprisingly passionate about prints and the Liberty heritage. She is also a long-time supporter of Texprint and regularly gives time to participate in the Texprint interview panels that take place each June.
As a creative company focused on design excellence Liberty understands just how important it is to look to their future heritage and drive innovation by supporting the next generation of young designers; Liberty Art Fabrics sponsors the Texprint Pattern Award.
-Emma, how long have you worked at Liberty Art Fabrics and what were you doing before?
I have worked at Liberty for nearly twenty-one years – in fact the same amount of time as Alexandra Shulman has been editor at Vogue!
While at college I had a great work placement with Nina Campbell, I then won an RSA Bursary which led to a placement with Cavendish Textiles – both invaluable experiences. On graduating I went freelance, exhibiting at numerous exhibitions, working freelance in-house at Nigel French (design consultancy), and designing for a variety of markets under my own name.
When I applied for the Liberty role, I found out that they had asked my to interview because they liked my handwriting on the letter accompanying my CV!
-Tell us about the team at Liberty Art Fabrics?
The designers at Liberty Art Fabrics are Sheona, Sally, Polly, Robin, Keighley, Laura-Maria and Carrie. At any one time the team are working across three areas - fashion, furnishing and lifestyle art fabrics - on different briefs, and often for different seasons. We often go on drawing research trips, have drawing days and spend time hand drawing and painting original artwork.
Also in the team are Rupal who works on special projects, and Lauren who backs us all up on everything plus creates the presentation Powerpoints, keeps the fent book*, and makes sure all design and colour files are organised at the end of every season. Holly is our studio co-ordinator who keeps things running smoothly!
(NB: each design is archived in various swatch and fent books*; artwork, fabric bases, colourways, promotional and sales material are all recorded).
Spring/summer 2013 inspired by The Chelsea Flower Show
-What is the process that takes a design idea into production and retail?
At the moment we are about to start creating sketches for spring/summer 2015.
I love coming up with the design briefs, it’s one of the most inspirational aspects of my job. One of my favourite tasks is to thoroughly research an idea and come up with something original each season.
Liberty Art Fabrics is a design-led company, which we pride ourselves on. While we listen to feedback from customers, agents and our sales team our design briefs are created two to three years before a collection is launched at retail so it is really important that the collections are design-led and retain the heritage and originality which makes our prints so successful.
Each season the studio creates around 43 designs in 8 colourways. We then present our work at a number of selection meetings, working very closely with Kirstie (Kirstie Carey MD of Liberty Design) who reviews the new ideas. We whittle these down to 40 designs, all of which will be printed onto Liberty’s iconic Tana Lawn. We also create capsule collections on a number of different base fabrics using the designs most relevant to each base.
While we aim to think as creatively as possible at this stage, there may also be other considerations – it is important that our collections are successful worldwide, so we occasionally work on special projects that cater for specific design and colour requests. We also work on childrenswear design and colour.
-Tell us about your recent travels for inspiration and research?
While researching spring/summer 2013 we went to Tresco (Scilly Isles) – in fact nearly all the best sellers in this collection were inspired by that trip - we also went to Vienna for design research, to the Chelsea Flower Show and on the trail of Guerrilla Gardeners in London!
More recently we’ve been to Glasgow and The Isle of Bute, both wonderful. However my favourite research trip was to Iceland for autumn/winter 2013, a truly inspirational place that will stay with me forever.
Spring/summer 2013 inspired by Tresco
Spring/summer 2013 inspired by The Chelsea Flower Show
Spring/summer 2013 inspired by Vienna
-Do you ever refer back to the Liberty archives?
Yes, the Liberty Archive is amazing. It is hidden away in a warehouse in Bermondsey - a treasure trove of archived Liberty prints and sketches. Every design, from tana lawn to silk satin, is documented with as much information as possible and stored safely in a digital database.
But most exciting of course are the collections themselves - oversized books bursting to the brim with swatches, piles of neatly labeled boxes and paintings as bright as the day they were painted.
The Liberty archives
-What are your favourite inspirations right now?
Gosh, almost everything inspires me, but mainly it is my daughters Mauve and Rose Xanthe who make me laugh so much and look at the world from such a variety of different and wonderful perspectives.
-In what ways do you work with students and what would you look for in a graduate designer joining your team?
We work on an annual collaboration with the textile design students at Central Saint Martins, and have also worked with another MA course creating colour for a recent collection. We always have work experience students in the studio, working from one week to three months at a time.
I would look for the same thing in a graduate as any designer – diversity of ideas, great sketchbooks with lots of original hand drawing, and a beautiful and varied sense of colour. Personality is important too - someone who is very lovely and very inspiring – it is so important that they spend time in the studio and for the team to bond with them. They would also need relevant computer skills!
Spring/summer 2013 inspired by Tresco
Coutts Texprint dinner celebrates textile innovation
16 April 2013 by Editor
As a dedicated supporter of the arts, private bank Coutts again demonstrated its interest in the worlds of fashion and textiles by hosting an elegant dinner in support of textile design excellence.
Held on Thursday 21 March 2013, it was the second Texprint dinner to be hosted by the historic bank at its head office on the Strand, London. Following a champagne reception in the boardroom, which is lined with hand-painted Chinese wallpaper c.1793, the guests were guided to its beautifully appointed private dining room for a sumptuous dinner.
Alan Marshall, executive director of Coutts, welcomed the guests, saying: “Coutts is thrilled to be a sponsor of the Texprint 2013 dinner. It reinforces our commitment to the world of contemporary creative industries and our relationship with young entrepreneurs.The UK is a world leader at creating art, fashion and textiles and Coutts' support of Texprint enables emerging talent to access our experience of working with entrepreneurs in addition to providing mentoring schemes and financial advice."
Left: Marie Parsons (Jaguar Land Rover), Professor Clare Johnston (RCA) Centre: Katrina Burroughs (Sunday Times Home), Katie Greenyer (Pentland Brands) Right: Neisha Crosland, Susanna Kempe (Flying Trumpets)
Texprint’s chairman Barbara Kennington took the opportunity to thank the guests – including leading lights in fashion and textiles, the press and past alumni - for their continuing support for British-trained textile design graduates and without whom the Texprint programme would simply not exist. “Texprint’s programme of mentorship provides a vital bridge between university and the real world. Looking at the autumn/winter 13 fashion collections, particularly in London, what struck me was the increasing importance of textile innovation - an indication of just how important it is to encourage and support the next generation of textile creativity.”
Peter Ring-Lefevre (Texprint), Kate O’Connor (Creative Skillset)
John Snowdon (Worshipful Company of Weavers), Peter Ackroyd (Woolmark Company), Andrew Blessley (Clothworkers Foundation), Hugh Beevor (Texprint)
The Texprint programme has been selecting and mentoring graduate textile designers for over 40 years. And through Coutts’ gracious hospitality, the dinner provided the charity with a means of thanking those who make it possible, among them Kirstie Carey, managing director of Liberty Art Fabrics (sponsor of Texprint’s Pattern prize); Paul Graham, sales director of Pantone EMEA (sponsor of the Colour prize); and Texprint trustee Dominic Lowe represented The Sanderson Art in Industry Trust, which is a Foundation sponsor of the charity.
Italian textile producers and luxury fashion brands have long recognized the excellence of British-trained designers and regularly employ interns selected from the Texprint winners. Texprint was pleased to welcome Luigi Turconi of Ratti, part of the giant Marzotto group; Elena Alfani of luxury brand Salvatore Ferragamo; and Marco Taiana of Tessitura Taiana represented the Como-based creative initiative ComON with which Texprint has long been associated.
Left: Barbara Kennington (Texprint) Andrew Blessley (Clothworkers Foundation) Right: Peter Ring-Lefevre (Texprint), Elena Alfani (Salvatore Ferragamo)
Anne Tyrrell MBE, designer and member of Texprint's Council, said: "It’s a really special evening, so impressive, and it’s a huge compliment that so many visitors from Europe attended."
Marco Taiana (Taiana, ComON), Caryn Simonson (Chelsea College of Art & Design), Joanna Bowring (Texprint)
Katie Greenyer, creative director of the Pentland Group, was delighted to announce during the evening that Pentland would be increasing its sponsorship for 2013, which was fantastic news and greatly appreciated.
The Texprint management team also welcomed Catriona Macnab, creative director of Foundation sponsor WGSN; John Francis, director of sponsor Paul Smith; style director of the Telegraph magazine Tamsin Blanchard; and Michael Ayerst, managing director of wall coverings specialist Surface View, which has so generously provided the dramatic wall murals seen at the Texprint London event for the past two years.
And from Texprint’s alumni, guests included Michael Angove, Neil Bamford of Mint Design Studio, David Edmond, and Marie Parsons of Jaguar Land Rover.
Left: Julius Schofield MBE (InDesign), Philippa Brock (Central St Martins) Right: Anne Tyrrell MBE, Leanne Prichard (Coutts)
Left: Alison Murdoch (Haberdashers’ Company), Gill Gledhill (GGHQ), Terry Mansfield CBE Right: Neil Bamford (Mint Design), Michael Ayerst (Surface View)
The world of interiors has been an area of increased focus for many young textile designers. Neisha Crosland, a Texprint judge in 2012, and Mary Carroll, of luxury interior furnishings brand De le Cuona, attended the dinner, as did Katrina Burroughs, a renowned journalist specialising in interior design who is a regular contributor to the Sunday Times Home section.
The words of after dinner speaker Susanna Kempe, founder and CEO of Flying Trumpets, were greeted with much nodding of heads and agreement as she talked of too many businesses being run by accountants; too few by creatives, stating: “To change that, we have to finally, unequivocally, reject the false opposition between creativity and commercialism. We have to combine imaginative genius with disciplined execution; embrace create effectiveness and demonstrate commercial accountability. If we don’t businesses and boards will continue to be led by accountants most comfortable in a world of timid homogeneity. Businesses should be run by people for whom innovation, clients and brands are in their very DNA.”
Her thoughts were applauded by all – and especially by Kate O’Connor deputy managing director of Creative Skillset, and Anne Tyrrell who responded: “She was amazing. I must say I will attack my meetings with new energy as a result, what an impressive woman.”
Barbara wrapped up the evening, saying: “Our sincere thanks to Coutts for hosting such an enjoyable and hugely useful opportunity for people interested in supporting British design training and textile innovation to get together, to talk and to debate. Invaluable!”
Texprint alumnae at SIT Select, 4 May
07 April 2013 by Editor
Texprint has been invited by Lizzi Walton, artistic director and CEO of Stroud International Textiles to introduce the work of Texrint alumnae Lauren Bowker (Texprint 2011) and Lisa Bloomer (Texprint 2012) at SIT Select on Saturday 4 May.
A day of textile innovation and design excellence Introduced by Barbara Kennington; illustrated talks from Lauren Bowker and Lisa Bloomer.
Date: Saturday 4 May, start 1.00 pm – 3 pm
Tickets: £10 & £8 (Friends of SIT & Museum)
SIT Select is the exhibition arm of Stroud International Textiles, their aim to raise awareness and to increase the enjoyment of contemporary textiles and contemporary crafts. Through an extensive programme of exhibitions, talks and open studios, SIT Select challenges the public’s perception of contemporary crafts while increasing active participation in the arts for a wide range of people and abilities.
While at first glance textile art and craft may seem only loosely connected to the faster moving and commercial worlds of fashion and interiors, there’s little doubt that it can inform, guide and inspire. As fashion textiles become increasingly innovative and creative, and production challenges even greater, it is important to be open-minded and explore seemingly less walked routes to discover new directions for colour and materials.
Since leaving The Royal College of Art the routes taken by Lauren Bowker and Lisa Bloomer could not be more different although there are points of connection, particularly around sustainability and textile development to improve the world in which we live, which motivate them both.
Lauren Bowker’s vision - to See The Unseen - lies beyond the world of the traditional textile as she intertwines unexpected materials and technology for the future world of arts, fashion and wellbeing - everything from catwalks to feathers to concrete - always with the human at the heart and with the intention of providing real solutions to real problems, improving and inspiring our lives.
Lauren Bowker for Peachoo + Krejberg 2012/13
Lisa Bloomer’s work, though firmly based in weave, goes beyond the traditional textile approach as she explores dye, print and freehand techniques. Using digital technology Lisa mixes the complexity of cross-dyeing with the spontaneity of mark-making to create sustainably-produced, bespoke fabrics for interiors and fashion.
Lisa Bloomer at Indigo 2011
Textile: ©Lisa Bloomer
The main exhibitions and talks curated by SIT take place in the Museum in the Park, Stroud - check WEBSITE. Tickets must be either booked online or by sending a cheque to SIT. Details are in brochure and on the booking page.
Texprint is pleased to support this extraordinarily rich and diverse programme and applauds the excellence and innovation of UK-based designer makers who are driving textiles and contemporary crafts forward nationally and internationally. CLICK BELOW to view the full brochure onscreen:
London Fashion Week: Texprint’s textile review Part 2
04 April 2013 by Editor
In Texprint’s second report on the autumn/winter 13/14 London Fashion Week collections we look at the innovations in wool, surface finishes, jacquards - and at what’s new in technology.
“London Fashion Week has long been synonymous with innovation and the latest round of London runways shows didn’t disappoint as our internationally acclaimed young designers lead the way in exciting new textile developments,” comments Sue Evans, fashion editor of WGSN.com (Texprint sponsor).
Christopher Raeburn, Daks, J.W.Anderson / Photos: style.com
Sophistication came from those collections that showed a quiet simplicity of attitude (though not necessarily of colour), and in many cases, a continuing passion for wool, whether flat surfaced, ombred or more decorative.
Sue notes: “Print wunderkind Jonathan Saunders delivered scrolling appliques on delicate lace and felted wools in place of his signature print and pattern, an interesting move for him.”
Jonathan Saunders / Photos: style.com
"Wool was present not only at Fashion Week in London but also in New York, Milan and Paris where several collections featured full overcoats in woollen fabrics. Of note were examples of boiled wools, meltons, serges and drabs. Of particular interest in Paris was Stella McCartney's astute use of menswear fabrics, particularly pin stripes and flannels in worsted weights to add extra drape. Woolmark feels that wool has made a massive return for autumn/winter 13/14 in both men's and women's wear. Never has wool been so much at the forefront of the collections of leading designers and brands," says Peter Ackroyd, The Woolmark Company (Texprint sponsor).
Pringle of Scotland, Burberry Prorsum, John Rocha / Photos: style.com
Utilitarian looks were there too. Clare Johnston, professor of textiles at RCA, says: “The designers presented collections of men’s and women’s fashion that were modern, desirable and durable.” Not least Christopher Raeburn’s felted wool fabrics, made water resistant with Teflon, a clever and practical innovation that works to enhance his contemporary take on the sportswear aesthetic.
Mulberry / Photos: style.com
Fabrics were often toyed with, and finishes were key. Bonded double jersey, rubber, cire and wet-look coatings were all used by designers to lend an anarchic and unexpected edge.
Felder Felder, Simone Rocha, Burberry Prorsum / Photos: style.com
Refreshing colour and innovative fabrications came from Simone Rocha who showcased a delightful mix of felted wools, heavy lace, cobweb crochet, sparkly tinsel threads and tufts of petal-like texture. Her baby-pink tones, spongy bonded fabrics and classic structures were both exaggerated and assured. J.W. Anderson showed a collection that was pared down, modern and played with proportions and exaggerated details.
J.W.Anderson, Simone Rocha, Roksanda Ilincic / Photos: style.com
Jacquards found a new direction too. Used notably by Pringle of Scotland and Temperley London.
Temperley London, Pringle of Scotland, Osman / Photos: style.com
Texprint also notes British designers exploring technology in new and exciting ways.
In the case of Burberry Prorsum technology is used to emphasise the heritage and artisanal quality of the collection as the creative story behind each autumn/winter 12/13 runway Made To Order piece comes to life through smart personalisation.
Technology in each item unlocks immersive video footage, retracing its journey and celebrating its expert design and craftsmanship. On contact with a touch screen device each piece unlocks a unique video experience, charting its artisan production -- including original sketches, runway edits, craftsmanship and personalisation. Undoubtedly an incredibly expensive luxe service, but exciting and innovative nonetheless.
We also love Matthew Williamson’s low-tech Vine video campaign – snappy close-up 6-second videos shot backstage by photographer Sean Cunningham and tweeted live as the looks hit the runway. On his Facebook page Williamson also shows close-up photos of his spring/summer 2013 collection – Mathew Magnified - a clever way of highlighting the intricate workmanship and fabrics; detail that is often lost on the runway.
London Fashion Week: Texprint’s textile review Part 1
03 March 2013 by Editor
With London Fashion Week over we thought it useful to highlight the breadth of autumn/winter 13/14 fabric directions being explored and developed by British brands and designers.
This season textiles are worked together and manipulated to create layered or multi-dimensional effects. It is no longer enough to talk of knits, weaves or prints – weaves are embroidered or coated, felted flat fabrics are printed or embellished, knits are exaggerated, and prints are layered over jacquards or under sheers. We are also seeing completely new types of fabrics being created by rethinking handcrafted techniques such as crochet and lace making.
Clements Ribeiro, Sister by Sibling, House of Holland / Photos: style.com
“In the digital age we are seeing an innovative amalgamation of technology and handcrafted looks. The whole digital print revolution started on the London runways and has transmitted down to the high street at every level so it was interesting to see pioneers of the medium like Peter Pilotto and Holly Fulton take a different route for autumn/winter 13/14, combining digital technology with something altogether more textural as both designers introduced embroidery, appliques and patchwork into their silhouettes,” says Sue Evans, fashion editor of WGSN.com (Texprint sponsor).
Peter Pilotto / Photos: style.com
Holly Fulton / Photos: style.com
Clare Johnston, professor of textiles at the RCA, agrees: “Just when we needed it, the catwalk shows were uplifting and inspiring. The fabrics exuded luxury and invention. Prints and patterns continue to be bold and brave with less reliance on obvious digital imagery and more use of individual and imaginative design.”
Silhouettes are also being reconsidered; note Peter Pilotto’s squared off and oversized jacekets and coats, inspired by the Spanish Renaissance painter El Greco, and embroidered with bold strokes of painterly energy.
Peter Pilotto / Photos: style.com
Moving on from her signature collaged, quirky and colourful digital prints, Mary Katrantzou’s new direction saw what Sue Evans describes as: “hauntingly beautiful monochromatic landscapes,” digitally printed over jacquards and brocades and worked into strong Japanese-esque silhouettes. Also included in the collection are embossed leather and black-on-black jacquards.
Mary Katrantzou / Photos: style.com
Mary Katrantzou / Photos: style.com
While talking of fabric mixing and layering, Sue comments: “At Tom Ford, we were introduced to intricate floral embroideries fused with plush astrakhan furs, while at Erdem delicate print flower motifs were taken into another dimension when combined with laser punched cut-outs on a technical bonded fabric base.”
In his most beautiful, demure and modern collection to date, Erdem Moralioglu moved beyond his more familiar cocktail wear looks by showing a collection of confident and sensual fabrications. Layering sheer over texture, lace over print, and using ostrich feathers, oversized sequins, or bright, three-dimensional embroidered flowers to lift the fabric surface. He also showed tweeds, gleaming with shots of neon or plastic raffia, and softened by delicate threads of ostrich feathers wafting over the surface.
Erdem / Photos: style.com
Erdem / Photos: style.com
Christopher Kane also played with unexpected fabrications. A modern take on sculptural Guipure lace and passmenterie-type trims on panne velvet dresses, interlocked along seam lines or cut open to give shape and allow movement. Feathers were used extensively: to look like fraying seams or to create three-dimensional flowers; and cut jacquard jersey in a camouflage pattern gave the impression of a scratched and unfinished surface. Humour was here too, in the brightly coloured brain scan embroidery on an organza tee-shirt.
Christopher Kane / Photos: style.com
Christopher Kane / Photos: style.com
Carlo Volpi at Pitti Filati, 23-25 January
23 February 2013 by Editor
Good to hear from Carlo Volpi (Texprint 2012) following his return from Pitti Filati, Florence, where Carlo was asked to create knitted garments for the Spazio Ricerca of Pitti Filati, the central research space dedicated to future vision, design and artisanal skills.
The inspiration for Carlo’s one-off pieces came from his research into cultural festivals: music festivals, folk/religious festivals like "El Dia de Los Muertos" (Day of The Dead) in Mexico, and sagras (traditional Italian food festivals). As always, the research area provided drama and focus for those visitors looking to be excited by new ideas and creativity; the mannequins lined up on the central runway, surrounded by colourful petals strewn on the floor, and screens to each side showed videos of the various festivals.
Read more on Carlo’s blog for the Knitting Industry website where he regularly posts on anything he finds inspiring - emerging or established designer’s work, new yarns and exciting stitches.
tel : +44 (0)7983 970703
WSA magazine: Build inner strength with the talent of tomorrow
23 January 2013 by Editor
The January issue of WSA magazine features an interview with Sheree Waterson executive vice president and chief product officer of Lululemon Athletica (Texprint foundation sponsors) focused on the thinking behind Lululemon’s support for Texprint and, in Sheree's words, the importance of infusing “the organisation with new talent that sees the world in new ways.”
The inaugural Lululemon Texprint Award was won by Texprint 2012 designers Manri Kishimoto and Sophie Reeves who each received £1,000 and a prestigious 3-month paid internship at Lululemon’s Vancouver headquarters which started this January.
The article offers insight not only into the ethos of this rapidly growing North American business, but also highlights the cultural philosophy and yogic principles that Lululemon encourages in its work force and that feeds into its success.
In the article Sheree says: “In terms of leadership, the interns are going to be immersed in our culture of vision, goal-setting and personal accountability. Additionally they will learn our design principles at Lululemon; combining fashion and function, West Coast lifestyle with European styling and creating their designs through those filters.”
Personal mentoring and well-managed internships are the cornerstones on which graduates can build and fast track their experience gathering. The Texprint programme has long had mentoring at its core and with its sponsor-partners is planning to further develop this aspect of the programme through 2013.
WSA (World Sports Activewear) is a widely recognised, award-winning international publication for material development in the performance wear market. Published six times a year it provides an up-to-date analysis of technical developments, commercial trends and offers valuable business management information. To subscribe to WSA go to www.sportstextiles.com
Report from Hong Kong: Lane Crawford HQ visit
14 October 2012 by Editor
The 30th floor of the stunning head office of the highly creative luxury retailer Lane Crawford in Aberdeen, Hong Kong, was the setting for an invaluable mentoring session with fashion director of womenswear and menswear Sarah Rutson, and Ross Urwin, creative director of home& lifestyle.
The six Texprint 2012 prizewinners each presented their work which ranged across all textile disciplines; and drawing on their extensive market knowledge and experience, Sarah and Ross talked with and advised them on application, potential markets for their work, and discussed what the Lane Crawford customer generally looks for.
Of Sarah Burton's work, Sarah commented that there is a "lot of opportunity for added-on accessories – it is the hardest thing to find a niche as a new designer – it can recreate a basic garment, something that talks to a wider audience."
Ying Wu's fine drawn work illustrating the consequences of over-industrialisation on the environment was particularly appreciated – Sarah said her work was "very clever and relevant, as well as having a great sensibility of colour and print – something very special, and very interesting for our market". Ross added: "This is great and I can see it working on rugs and wallpapers too".
Sarah said of Tanya Grace Knuckey's work that she has a "unique standpoint – the new luxury is something that is unique but still approachable and affordable."
She also gave invaluable advice by encouraging the designers to think ‘big picture’ and look at different areas outside fashion.
Sarah said of the Texprint 2012 designers’ work that "usually at Lane Crawford we see finished products, so it was great to see textile ideas in their purest form". The visit was an amazing opportunity for the fledgling designers to receive feedback from the most innovative retailer in Asia Pacific area, and we are extremely grateful to Sarah and Ross for giving their time.
Report from Hong Kong: six 2012 winners exhibit at Interstoff Asia Essential
06 October 2012 by Editor
The six Texprint 2012 prizewinners have just returned from a highly successful visit to Hong Kong, where they showed at Interstoff Asia Essential, 3-5 October. Their visit was made possible through the sponsorship of Messe Frankfurt (HK) and the generous contribution of the Drapers’ Company and the Worshipful Company of Weavers, who gave a one-off donation to build on the momentum of the GREAT creativity week (November 5-9 2012).
Texprint has been sponsored to showcase six prizewinners each year at Interstoff Asia Essential since 2001. Wendy Wen, Director of Trade Fairs for Messe Frankfurt, said that design “is becoming more and more important for trade fairs, with designers playing a major role in exhibitions. Texprint has been positioned near the Trend Forum for many years – trend stories plus unique and innovative designers has been key for this Hong Kong show, where visitors are particularly interested in trends and original design”.
Wendy Wen meeting designers Manri Kishimoto and Sophie Manners
Kate Strutt, Senior Trade Advisor, British Consul-General, visited on the setting up day and spoke to each of the designers about their expectations. Although they had not visited Hong Kong before she found them all very professional in talking about their work - having enjoyed the experience of showcasing their work to buyers and press two weeks before at Indigo, Paris - and open to opportunities that might arise.
Eager to find out more about the market and the major brands and retailers there, the Texprint group spent a day exploring the key retail hubs on HK Island and Kowloon.
They also visited the amazing Lane Crawford head office at Wong Chuk Hang for an invaluable mentoring session with Sarah Rutson, fashion director of Lane Crawford, and Ross Urwin, creative director for home & lifestyle at Lane Crawford. And back at Interstoff Asia Essential they met with Angelia Teo, content director WGSN Asia Pacific, and representatives of The Woolmark Company (both Foundation Sponsors of Texprint).
During the exhibition the designers made many very useful contacts – they found that they were meeting people who could actually produce their designs, helping them to appreciate that they are now professionals with skills understood and wanted by the marketplace. Although they had all sold designs in Paris, the conversations they had in Hong Kong made it all the more real.
Weaver Sophie Manners noted that “at Interstoff Asia Essential the buyers seem to like a strong idea that they can then adapt and commercialise. Buyers here see the designs as a starting point, while in Paris at PV it was more about using the designs in a more literal way, here you have discussions about adapting for production”.
“I have seen a wide range of companies, from those producing for Italian brands to Russian and Hong Kong based companies,” said knitter Carlo Volpi.
Tanya Grace Knuckey, a multi-media designer, said she had also had a very good show, and that “people understood my work more than in Paris – here they like what you do and want to take it into products immediately, as opposed to expecting you to adapt and change your designs completely”.
Ying Wu, print designer, and Manri Kishimoto, print and multi-media designer, agreed: “Here they seem more interested in production rather than buying designs – they want to use the design straightaway, whereas in Paris they want you to develop the idea. It was good to see the Hong Kong market, with visitors China of course, but also from Russia and Australia.”
“It has been a really good experience, learning that British-trained designers have a very good reputation for creativity, and seeing the appreciation of original design here. Being in Hong Kong has been fantastic!” said knitter Sarah Burton, summing up what was undoubtedly an exceptional experience for these young designers to enjoy so early in their careers.
Weaver Sophie Manners wins Woolmark Texprint Award
27 September 2012 by Editor
Weaver Sophie Manners was selected as winner of the second Woolmark Texprint Award in support of the Campaign for Wool last week at Indigo, Paris.
Sophie, a graduate of the Royal College of Art, won the prize for her superb woven textile designs developed with 60% or more Merino wool. The prize has been created in support of the Campaign for Wool with Patron HRH The Prince of Wales and honours the inventive use of wool in textile design.
Texprint chairman Barbara Kennington, Sophie Manners, prize presenter Nelly Rodi and Peter Ackroyd of The Woolmark Company
The prize was judged at Indigo by James E Sugden OBE, director; James Dracup, group managing director, both of Johnstons of Elgin; and Masahiro Oono, textile design project manager of Japanese specialist wool weaver Nikke.
They selected Sophie out of the 24 shortlisted designers taking part in the Texprint programme this year, all of whom presented their work at Indigo. She received £1,000 in prize money, which was presented by this year’s Texprint prize presenter, the esteemed trend forecaster Nelly Rodi, and The Woolmark Company's Peter Ackroyd. As part of her prize, Sophie will also have access to training on the benefits and uses of wool through her nearest Woolmark Company office.
Nelly Rodi selects fabrics from Sophie's collection
Sophie loves colour and texture and being playful with these two elements. It was her reinvented traditional woven pieces on the theme of hair and fur, and her experimental approach to constructing fabrics with often unexpectedly tactile surfaces, that caught the judges attention.
Sophie’s weave tutor at the RCA, Philippa Watkins, says of her work: “Sophie is a clever weaver with a good grasp of woven techniques, including a velvet technique, which she explores to great effect using a variety of yarns and materials to create some extraordinary surfaces with a sometimes very surprising touch.”
Mr Sugden said the judges selected Sophie because of her technical excellence and the commerciality of her weave designs. She has a distinctive style and Mr Oono praised her tremendous imagination.
The Woolmark judges also commended printer Israel Parra-Zanabria, a graduate of Glasgow School of Art, for his translation of ideas to commercial execution.
Texprint Paris special prize presenter 2012: Nelly Rodi
16 September 2012 by GGHQ Fashion Intelligence
“I’m delighted that Nelly Rodi has agreed to be this year’s special prize presenter at Indigo,” says Texprint’s creative director Peter Ring-Lefevre. Indeed, the entire Texprint team are thrilled to welcome the esteemed creative director and founder of the eponymous trend forecasting company to the podium of the Texprint Village at Indigo, Paris, on Thursday 20 September at 3.30pm where she will be guest of honour at the annual prize ceremony.
Mme Rodi herself has been recognised for her achievements in the world of creation, receiving the Legion of Honour in 1998 from the French President and Officer of the Legion of Honour in 2009.
She founded the NellyRodi Agency in 1985 and the company counts the cream of international fashion and beauty brands such as L’Oréal, Tommy Hilfiger, Marks & Spencer, PPR and LVMH among its clientele. The Agency is known for providing a very sophisticated forecasting service, founded on research and analysis, which considers sociological, creative and marketing influences on future trends. As well as publishing regular Trendlab® forecasting books across several markets and end users, the company works extensively on brand repositioning and bespoke consultancy projects.
Peter is full of praise for the way in which Nelly approaches creative development and design work and recalls working on a project with her in the early 1990s when he was product development manager, menswear, at the The Woolmark Company office in Paris (then called IWFO and part of IWS).
“Nelly had a wonderful way of understanding wool as a natural fibre. She stretched the imagination and technical side of what could be achieved with the fibre in the developing stages,” he says. “She had lots of new ideas, right down to the benefit for various consumer levels. She has a very thorough way of working.”
Texprint takes an equally rigorous approach to selecting the most dynamic and talented new textile designers from UK art schools and universities to take part in the annual mentoring programme.
“British schools seem take a much freer approach to educating their students, mixing different approaches such as photography, art and fashion, leaving the student to express himself, without imposed rule…Freedom gives a lot of energy to fashion,” says Nelly.
As a creative force with a deep understanding of the fashion and interiors industries, Nelly will offer a wealth of advice to the 24 selected textile designers when she visits the designers’ stands at Indigo, part of Première Vision Pluriel. She says she is interested in work that has “an artistic approach, close to an artistic concept, mixed with texture and colours. For drawing, I look for hand-drawing and motifs which are not too commercial or based on actual trends. Technology comes after...”
“Nelly understands that the industry needs to be behind young and creative textile designers,” says Peter. Indeed, Nelly says: “The younger generation brings a lot of positive energy and modernity needed by our ‘old’ textile industry. We find new approaches by looking after the work of the new generation.”
She signs off with the following advice for new graduates: “Don’t be depressed by the textile recession. Make direct contact with leading international garment brands. Keep your freshness and freedom. And dare to create what you have in your hearts.”
Thank you Mme Rodi, we look forward to seeing you in Paris.
For more information about Texprint and to arrange an interview with Nelly Rodi at Indigo, Paris, ahead of the prize presentation at 3pm on Thursday 20 September please email firstname.lastname@example.org or call Delphine Thwaites on +44 (0)20 7250 0589.
Woolmark Texprint Award judge: James E Sugden OBE, director of Johnstons of Elgin
13 September 2012 by GGHQ Fashion Intelligence
The Woolmark Texprint Award in support of Campaign for Wool will once again recognise a Texprint designer who excels in the use of Merino wool in his or her fabric design. The winner will be chosen from this year’s 24 Texprint new graduate designers who will present their designs at Indigo, part of Première Vision Pluriel, Paris, September 19-21, 2012. Texprint and Woolmark are proud to introduce James E Sugden OBE, director of Johnstons of Elgin, who will be combining his seasoned opinion with fellow judge Masahiro Oono to pick this year’s winner.
In his 20 years at Johnstons of Elgin, Mr Sugden successfully developed the company’s worldwide reputation for woven and knitted fine cashmeres and woollens. It now counts the likes of Burberry, Chanel and Louis Vuitton as esteemed clientele. He currently applies his expertise to Johnstons’ knitwear mills in Hawick; continuing to cultivate the UK’s largest independent vertical woollen manufacturer. Mr Sugden was awarded a prestigious OBE in 2011 by HM The Queen for his contributions to the textile industry and is considered an international aficionado on luxury textile manufacturing.
Mr Sugden brings over 40 years’ textile manufacturing experience to the judging panel and is keen to support the next crop of British-trained design talent: “It’s important to nurture the immense amount of talent that the UK has to offer at the earliest stages of a designer’s career. Texprint gives them a platform that they wouldn’t have access to otherwise to internationalise their talents.”
A recent resurgence of UK-based manufacturing has been led by businesses looking to support well-made product. As the Johnstons customer moves away from low added-value products, they look for ways to set themselves apart from the crowd. Mr Sugden insists that “customisation is the key to differentiating product” and has ensured that Johnstons has the capacity and technology to cope with demand.
“The technology is there, but it’s the creative spirit that drives us forward,” he says. “If we don’t push the boundaries, the industry will never progress. That’s why we need young designers with conviction and the boldness of youth.”
The design talent coming from the art colleges here in the UK is revered worldwide and Mr Sugden believes that it’s crucial to help young designers find a platform for success. He hopes to find someone with “a focused perspective and a comprehensive knowledge of colour, weave and texture” to champion the Woolmark Texprint Award.
Woolmark Texprint judge: Masahiro Oono from Japanese wool specialist Nikke
11 September 2012 by GGHQ Fashion Intelligence
Textile designer Masahiro Oono from Japanese wool specialist Nikke joins judging panel for the 2012 Woolmark Texprint Award in support of Campaign for Wool prize.
Versatile, strong and natural: Merino wool provides textile designers with yarns and fabrics which are luxurious and sustainable, whether used in interiors or in apparel. The Woolmark Company, the not-for-profit organisation owned by over 29,000 Australian woolgrowers, invests in research, development, innovation and marketing along the global supply chain for Australian wool — the largest source of this noble fibre.
The Woolmark Company encourages new designers to explore the design possibilities and benefits of Merino wool through the sponsorship of the second annual Woolmark Texprint Award in support of Campaign for Wool. The award recognises design excellence in fabrics created with 60% or more Merino wool, whether presented as printed, woven, knitted and/or mixed media fabric.
A winner will be selected from among the 24 designers who will show their work in the Texprint village at Indigo, which is part of Première Vision Pluriel, September 19-21, 2012. The Woolmark Company and Texprint are delighted that experts in woollen textile creation will be choosing the winner.
In the first of two profile focuses on the judges, we speak with Masahiro Oono, project manager of Nikke Group’s textile design and marketing department in the Osaka-based organisation’s textile and clothing materials division – otherwise known as the Japan Wool Textile Co Ltd.
Nikke was established over 110 years ago, starting as a manufacturer of wool products and has since expanded into six different domains with the aim of providing “products and services to meet customers’ demands and make a contribution to society”. Its textile and clothing materials division includes the development, manufacture and wholesaling of products for apparel primarily incorporating wool. Like wool, Nikke’s corporate philosophy is to be “gentle and warm toward people and the planet”.
On meeting with Mr Oono on Nikke’s stand at textile exhibition Première Vision, Paris, he presents what he describes as the company’s signature fabric: a superfine wool chiffon gauze weighing 120g per meter which costs in the region of €35 per meter, which puts it in the realm of luxury brands. Indeed, he lists Hermès, Louis Vuitton, Jil Sander and Burberry as top customers.
The most popular colours selected by buyers in February were sky blue or mustard, however for Mr Oono, achieving technical excellence is more important than using colour in design: “Nikke has a long history and a large archive, and we do a lot of work from the archive. I try to do what other can’t or aren’t able to do.”
Mr Oono joined Nikke 25 years ago. With two generations of kimono artisans in his family, he says his parents were happy when he decided to study fashion and textiles. “Since I was a child I have liked clothing. When I was deciding what to do at university, new stylists such as Yohji Yamamoto were coming through and I wanted to do something in this field,” he explains.
To the question ‘why would you recommend that new textile designers experiment with wool?’ he replies with another question: “Maybe students think that wool is thick and not interesting? But high end wool has so much potential. It’s important to know the possibilities of wool. If you don’t know wool and wool fibres you will never become a good textile designer.”
Mr Oono is a great advocate of wool and praises its inherent nature: “It’s natural, and comes from sheep and there’s a long history of man weaving sheep’s wool. You can do so many things with it: felt, twill, crêpe... there are so many possibilities. It’s also strong.”
As a Woolmark Texprint Award judge, he says he will be looking for designs that show “something unusual, that no one else has thought of, a new way”. As well as lending his expertise in judging the competition, Mr Oono will be a source of advice and inspiration for the 24 designers taking part in Texprint this year as he meets them and reviews their design work while looking for the winner: “We need young people – we need new ideas. Textile design is very creative work, work that gives you the possibility to realise your dreams.”
Supporting Texprint: The Haberdashers’ Livery Company
07 September 2012 by GGHQ Fashion Intelligence
Throughout six and a half centuries The Worshipful Company of Haberdashers has moved away from its historical involvement with the trade of haberdashery and developed into a significant supporter of schools and education in England and Wales.
The Company’s headquarters is the new Haberdashers’ Hall, opposite St Bartholomew’s Hospital in the City of London. Built in 2002 around a gated quadrangle, it is reminiscent of a modern Oxbridge college. Here one of the Company’s Past Masters and Chairman of its Charities Committee George Pulman QC, and Alison Murdoch, Director of Charities, make life-changing and life-enhancing decisions for its beneficiaries who range from students of divinity to Texprint.
So when and how did the Company make this leap from trade body to charitable donor? Mr Pulman explains: “The history is long and complicated, but we are frightfully old. There is a haberdasher who travelled from Southwark to Canterbury with Geoffrey Chaucer and there are only three members of livery companies mentioned [in the Canterbury Tales] and the Haberdashers’ is one.”
The Company started the change towards education in 1594 when the Bunbury Aldersey Church of England Primary School in Cheshire was left to be under its governance. Mr Pulman continues: “Within the next 100 years three more foundations were started with Robert Aske, William Jones and William Adams leaving money in trust to the Company. So we have these separate funds, you can’t mix them.” Over the succeeding centuries various people gave money – often in their wills, sometimes during their lifetimes - to fund education and other good works.
The Company began when men involved in the trade of haberdashery in the City of London wanted to see it fairly run. “And after that the sons of haberdashers wanted to join as they could see it was good fun. But they weren’t always haberdashers and so gradually you had a lot of people who weren’t in the trade, became members of the Company,” says Mr Pulman. “And so we drifted into other purposes which were largely charitable but I think I’d be right in saying that our educational purposes have been greatly enhanced over the last 20 years or so, we have opened three brand new schools in the last few years.”
Texprint, is not a school, so, why does the Company choose to fund it? “We look for an association with our purposes, one of our purposes is the trade of haberdashery and so Texprint comes precisely within that,” answers Mr Pulman.
“There’s another link,” adds Mrs Murdoch, “Thomas Arno is a relatively recent benefactor of 1937. Some of the money he left to the Company was specifically for helping young people to start up in business. And of course Texprint falls into that category perfectly.”
With so many stipulations, it must increase the amount of administration you must do? Mrs Murdoch says: “It does but we sit down on a regular basis and we think about the strategy for the Company, for each particular committee in its field, and the Charities Committee also regularly reviews the focus areas that we want to concentrate on. We have limited resources, and we can’t give to everybody, however worthy the causes, and we’re limited by partly the Charity Commission schemes and partly by the fact that we want to do what the people who gave us the money to look after, asked us to do. They trusted us to do good things in that particular area.”
The Company also supports haberdashery-linked concerns at the Royal School of Needlework and City & Guilds. And each year the Company invites first year MA textiles students from the Royal College of Art to present their work at the hall. “Some of the students we award prizes to sometimes go on to be picked by Texprint, which is rewarding,” says Mrs Murdoch.
The Company’s involvement as a major sponsor ensures that Texprint can introduce each year’s selected 24 new graduate designers to the industry in London in July moving on to Paris in September. Mrs Murdoch says with a smile: “I do feel, Past Master, that the Director of Charities might be allowed to participate in the event in Paris...”
“I think you may need to be accompanied,” he replies, quickly.
“…by the Chairman of the Charities Committee!”
We hope to see you both in Paris and thank you and the Haberdashers’ Company for your continued support.
Supporting Texprint: The Clothworkers’ Foundation
04 September 2012 by GGHQ Fashion Intelligence
Texprint is proud to have The Clothworkers’ Foundation – the charitable organisation set up by the Clothworkers’ Livery Company – as both a Foundation Sponsor and an Award Sponsor.
As a not-for-profit organisation, Texprint depends on the commitment of its Foundation Sponsors to uphold its annual programme of activities. Through the Foundation’s generous funding, Texprint helps new graduate textile designers as they leap from college into their professional lives.
Founded during the reign of Henry VIII, the Company was established as a trade body for cloth finishers in the City of London. Throughout its long existence the Company has looked after the welfare and interests of its members and has been heavily involved in charitable activities, many of which are textile-related.
“Originally all our members were involved in the textile trade, now virtually none are. And so our involvement is through philanthropic support and we’ve been involved with charities through alms houses, schools and the relief of need, for nearly 500 years,” explains chief executive Andrew Blessley. “Today we have The Clothworkers’ Foundation which gives between £5 million and £6m a year to a broad range of charities. In the textiles arena, our giving is: heritage, conservation, textile technology, and finally, and most pertinent to Texprint, we are a selective supporter of textile design, really focussing on excellence.”
For the last decade, the Foundation has been a consistent supporter of Texprint. Andrew says: “We recognise that it is difficult for Texprint to raise money each year. The industry unfortunately doesn’t seem to have very much of a long-term perspective and is driven more by short-term financial considerations. We’re delighted to support Texprint and we think it provides a wonderful opportunity, not just for the 24 winners but all those who apply, in terms of the guidance and mentoring they get through the judging process. And the opportunity for these talented young people to actually have their work seen by the major buyers, movers and shakers in London; Indigo, Première Vision, Paris; and in Hong Kong is absolutely fantastic.” Andrew says the proportion of established studios set up by Texprint alumni that show at Indigo is “amazing”.
In addition to Texprint, the Foundation funds MA students at the Royal College of Art and is a prize donor at New Designers exhibition of new graduates’ work and the Bradford Textile Society design awards.
One of the biggest grants the Foundation has made in the last few years has been £1m to the V&A Museum’s Clothworkers’ Centre for Textiles and Fashion Study and Conservation.The Centre at Blythe House, Kensington Olympia, London, will bring the European and Asian textile study collections together in a single location for the first time. Individual visitors and groups will be able to make appointments to see, study and enjoy the collections in the spacious new public study room. It will open in summer 2013.
The Foundation is also a major funder of the Textile Conservation Centre in Glasgow and the Bowes Museum in County Durham, which has an important collection of lace. It also made a grant of £750,000 to the British Museum, towards an organics conservation centre which houses its huge collection of ethnographic textiles.
Andrew explains the origins of the Foundation’s funds: “It’s the ultimate old money; if you were involved in cloth finishing and had a house in the City and didn’t have any heirs, you often left your house to the Company. What was then a grotty house with an open sewer in front of it is now part of a 40-storey block. We still own quite a lot of property in the City as do other livery companies. And the income from that funds all the philanthropic work that we do, which is based largely on property and on bequests that were made three or four hundred years ago.”
The Clothworkers’ Company was formed in 1528 with the merger of two companies; the Fullers and Shearmen which are two stages in the process of cloth finishing. It has had six halls, where the Company holds its meetings and members’ events, on the same site since 1515. “As the Company’s role in the cloth finishing industry declined as the textile trade moved away from London, it became more of a property and investment company and we have always been very involved with charity,” he says.
The Company returned to the trade in the mid-19th century. He continues: “We were one of the founders of the City & Guilds Institute which is all about vocational skills, effectively replacing apprenticeships which were the traditional way of people learning their craft. And we were one of the founders of what’s now the University of Leeds which was originally the Yorkshire College of Technology and we founded the textile department and what was known as tinctorial chemistry and what is now known as colour science. We’re still involved with Leeds and other universities with textiles departments.”
From ensuring that valued collections of precious fabrics are kept safe, to helping launch the careers of the next generation of designers, the Clothworkers’ is as steadfast in its support of the industry, now as it was 500 years ago. Texprint would like to thank Andrew Blessley and The Clothworkers’ Foundation for your continual sponsorship and valuing excellence in design.