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Flying high: Nancy Rose Taplin, Artist and Designer
12 August 2013 by
Artist and textile designer Nancy Taplin won the Interiors prize at Texprint in 2009. She was selected, and her prize presented by the artist Grayson Perry, an experience that Nancy describes as “one of the happiest of my life.” Our interview with Nancy illustrates how much the Texprint showcase contributes to launching creative careers and how the paths alumni follow are increasingly rich and diverse.
Creativity is in Nancy’s DNA; her father is the sculptor, Guy Taplin, and her mother is the ceramicist Robina Jack. An exciting showcase of the work of all three will be revealed through a family show at renowned gallery Messum’s, in London, which opens on 29th October 2013. Nancy will be showing a new collection of her startlingly beautiful and detailed bird paintings.
Nancy loves living and working in London - she shares a studio with eight other people, almost all of who are working in fashion and textiles. A typical day for her would include around six hours painting – but she told us, “The way in which I paint is detailed and intense and I can only really paint in short bursts, so I take lots of breaks and chat with people. When I first started painting, I was living in Essex and working on my own. I would dream about a space in a big, busy London studio; I feel so blessed now that it’s become a reality.”
How many new works are you creating for the forthcoming Taplin family show at Messum’s?
There will be ten new pieces. It’s really exciting to see the work come together - in some ways it feels a lot like planning and creating a fabric collection. Even though I’m working with unique, stand-alone pieces, I can’t help but think about how they’ll fit together as a group, and I’m really looking forward to seeing them in a gallery context.
How did this opportunity come about?
My family are all artists and it was suggested that we have a family show. I started painting by accident in 2010. I was working as a freelance textile designer at the time, primarily for Issa, having been approached by them at Texprint’s London show. I was quite reluctant to suddenly start producing fine art pieces because I couldn’t see myself working in that way, but thought I may as well give it a go. I’d intended to do a small series of prints, but my father saw the sketchbook I was drawing in – an old ledger onto which I’d painted a bird – and immediately saw that it worked as a piece in itself. I sold all the book paintings I did for that show, and after that it just took on a momentum of its own. I’ve since had a couple more group shows and a solo show and I still haven’t managed to hang on to a painting for myself!
It’s funny, because when I was at Indigo Paris with Texprint, I was approached by a man who bluntly told me my fabrics were beautiful but I’d never make any money as a textile designer because they were fine art, and although it did trouble me at the time, I often think how it was a strangely prescient comment.
After winning the 2009 Texprint Interiors Prize you went on to work as print and embellishment designer for Issa. How was this experience?
It was a massive learning curve. I was so grateful for the opportunity and working with such a glamorous label was exciting. Seeing print and embroidery designs I’d worked on featured on Style.com having being shown at London Fashion Week was a great experience. However, looking back, it wasn’t a great fit for me. Their aesthetic is completely different to my own and whilst I’m happy working to a brief, I found having to completely remould my style to fit with the sleekness and femininity that is Issa’s trademark a bit of an uphill struggle. If I had the confidence and perspective I have now, I might have refused the role and pursued more suitable freelance work. However, I’m really relieved I didn’t: not only was working with them a wonderful thing to have done, but because I found it so challenging I learned an enormous amount about myself and about the way in which I’m happiest working.
Obviously birds, and your father’s work, inspire you. Has this always been the case?
I spent my childhood surrounded by birds – stuffed, wooden, painted, living – they were everywhere. I’ve grown up with the East End’s answer to David Attenborough for a dad: when you’re with him he keeps up a continual commentary on the natural world and it’s blessed me with an awareness of nature and wildlife that I haven’t really had to work for. Wherever I go I’m conscious of the birds, insects and plants around me, whether it’s seagulls and starlings on the Ridley Road Market or shorebirds along the River Colne.
My background is in art history, and I guess my painting style is inspired in equal measure by fourteenth-century egg tempera painting – I can spend hours in the National Gallery’s Sainsbury Wing – and more contemporary painters like Andrew Wyeth. I’m definitely quite traditional in my approach though, and spend a lot of time apologising for being a bit passé!
Your work is incredibly detailed – do you work mainly from photographs?
Funnily enough, the less closely I work from photographs, the more detailed my work gets. When I first started painting, I used to rely on photos a lot more heavily; my paintings were much more realistic, though somehow also much sketchier. Since I’ve become more confident, I’ve also become more immersed in surface pattern and less concerned with realism. I often find myself working on a decorative passage of feathers and thinking, ‘all I’d need to do is blow this up and put it into repeat and it’d make such a great digital print!’
What drew you to working with/on old books? They are things of beauty in themselves – where do you find them all?
I first started working with old books when I was studying fashion and textiles at university. My mother and aunt were clearing out old stationary from my grandparent’s farm office. I salvaged it all and started to incorporate it into my work. My final collection sketchbook was an old family ledger, which I thought was empty. The whole collection was based on the First World War and its aftermath, and when I was in the final stages of the collection I realised that a few pages right at the back of the ledger had been used, and were dated 1917-18; it was a really affirming moment and felt a bit like someone from my family was sending me a message. I love the battered aesthetic of old books, there’s something so tactile and appealing about them. I get a lot of them sent over from America now, but when I can, I love to hunt round car boots and flea markets.
Regarding your working process – do the backgrounds inspire the particular bird?
The books themselves have a huge influence on what I paint on them. I think the process of deciding what to paint on a particular book is the point at which my textile training has the biggest impact. Each painting has a colour story, and the books become like fabrics, they have their own personalities and it’s really important to work intuitively with their individual characteristics.
I love painting the birds’ heads – for me it’s where all the personality lies. I’ve done a series of “portrait close ups” for the new show and I’m really pleased with them. That first bit, when you’ve done maybe just the beak and the eye, is when you’ve got the most energy and excitement for a painting and you’re making all the big decisions about colour and form. It’s a great place to be. The worst bit of any painting is “the ugly phase”… I usually paint onto dark surfaces, and have to create a white base first, in the silhouette of the bird. There’s always a brief period before the painting’s started to take shape when it looks absolutely dreadful!
You are concentrating now on your career as a painter, but do you feel you may return to textiles in the future?
I’m definitely planning on working with fabrics again. I’m also fired up about learning to make shoes, and want to produce a collection of small-scale prints that would work in this format. It’s got to the point where I literally go to bed and dream about printed leather – I’ve got so much raw visual material buzzing round my head, so much inspiration from my paintings, that I can’t wait until I have time to start designing. It’s going to be exciting to take the paintings that have been the focus of my life for such a long time and do something completely different with them.
Are there any other projects that you are currently working on?
I’m writing a lot, which is something I’ve always done, and I’m really looking forward to seeing how this develops. Perhaps most excitingly of all though, I’m at the very early stages of realising a long-held dream, and I’m learning how to make shoes. I’ve wanted to do it for so long that I’m bubbling over with excitement about it.
What are your plans for the future?
I’m looking forward to the point when things have settled down and I’m still painting enough to make a living, but also have more freedom to do other things, like write and get back into textile design. I’m really starting to crave a bit of variety now.
Looking back – is there a significant moment in your career development that stands out?
Other than my solo show selling out at the private view, which was a bit surreal, I think Texprint really was the major highlight of my career development so far. I was at New Designers when I got the phone call saying I’d been selected and I honestly nearly fell down the stairs with excitement. I think the best thing for me about Texprint was that Grayson Perry, who is one of my absolute heroes, was a judge. As someone who’s work traverses fine art and textiles, he was heaven sent, and finding out he’d selected me as the winner of the Interior Textiles prize was one of the happiest moments of my life. I gained so much confidence and self-awareness from Texprint, and I’m hugely grateful for that experience.
Advice for those about to graduate this year?
Don’t worry if your work seems different from other graduates– my portfolio stuck out like a sore thumb and I felt like a rackety art student compared to the professionalism of everyone else, but I think that actually stood me in good stead in the end. If you get negative feedback, like I did from the man who told me I’d never make any money because I was an artist not a designer, don’t be disheartened: hidden in that feedback there might be a really good bit of advice. Don’t be rigid, and be prepared to do stuff that wasn’t quite what you had in mind; you honestly never know where it’s going to end up.
The most important thing though is to enjoy the whole process of graduating – New Designers, Graduate Fashion Week, job interviews – talk to people and have fun; people respond really well to enthusiasm, and I really believe that conveying your love of what you do is almost as important as the work itself.
2009: Nancy with Interiors prize judge Grayson Perry
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
Pattern Masters: Texprint 2012 print specialists
30 October 2012 by
The Texprint 2012 showcase included nine outstanding printed textile designers, reflecting the strong continuing trend for dynamic pattern, in both contemporary fashion and interiors.
Winner of the Texprint Award for Pattern,Ying Wu has entranced many people since her RCA graduation this summer with her captivatingly original prints. Her inspirations stem from her Chinese heritage and its legends, reflecting a very original and personal narrative; her most recent work imagines nightmarish future scenarios where the natural environment has been devastated, and creatures must find new ways to survive. At Texprint London in July, Ying met, and has since collaborated with, Italian company De Le Cuona; she was also invited to participate in a ‘pop-up shop’ at Paul Smiths’ flagship store in London during September’s London Fashion Week. Further exciting collaborations are emerging, in what is proving to be a dynamic start to Ying’s career.
The vibrant and colourful work of Manri Kishimoto ensured her success as winner of the Texprint Award for Colour, sponsored by Pantone, and as a joint winner of the inaugural Lululemon Texprint Award. Manri’s work is instantly striking - the bold, expressive and graphic shapes of her story-telling designs are inspired by nature, particularly bird motifs. She uses many substrates for her print and multi-media work including knit, leather, silk weave and fine silk mesh. One of the highlights of her display at Texprint London was the large scale swan motif encusted with Swarovski crystals.
Israel Parra- Zanabria
Embracing vibrant colour in a very different way, the work of Israel Parra-Zanabria is inspired by the colours and buzz of his native Mexico City. Israel uses a variety of media, including watercolour, pro markers and pencil to achieve a masterful delicacy and softness to his beautiful depictions of exotic flowers, combining both screen printing and hand painting to translate design to fabric.
Fergus Dowling’s distinctive work is currently inspired by decorative heraldic imagery. Fergus is drawn to the Rococo and Baroque periods; he is inspired by the highly detailed design and imagery of family crests which he deconstructs and then reinvents to create newly contemporary and personal patterns. These, plus his use of reinvented traditional tartans, vibrant colour, and luxurious fabrics, gives his work an elegant gentleman-like mood.
Laura Barnes’ love of drawing and the decorative arts is very apparent in her richly coloured and elegant work. Her wonderfully vibrant sketches and designs are inspired by travel, especially recent trips to Morocco and Spain, and reveal her passion for colour and story-telling. She previously won a scholarship, which enabled her to undertake an exciting and visually stimulating cultural exchange visit to South Korea.
Trinity Mitchell’s fresh, quirky and slightly retro designs were originally inspired by a YouTube video of 1950’s women trying on sunglasses. Her prints have since developed into a celebration of the small, feminine and often quietly humorous details that reflect her eclectic and light-hearted approach to fashion fabrics and headscarf design.
Alice Howard- Graham
Architecture, photography and Russian Constructivism have inspired Alice Howard-Graham’s striking and dynamic work. Using her passion for photographic manipulation yet retaining a hand-drawn quality, Alice employs motifs developed from industrial and mechanical imagery, exploring the potential of both traditional screen-printing and digital methods in her work.
Geometric patterns, maps of the world, celestial charts, strong colour, Pop Art, vintage photos and animals are just some of the eclectic starting points used by David Warner to create his individual take on contemporary fashion textiles and wallcoverings. Quirky, layered designs mix English country traditions with gay culture to create statement placements and allovers.
Amber Sambrook plays with techniques such as laser cutting, and materials such as leather to give her fashion fabrics and accessories their unique and unexpected handle and finish. Her most recent work is dramatic and powerful, inspired by the weather and its changing atmospheric conditions. Contrasts of light and dark, and richly moody patterns suggesting storm clouds are achieved using techniques such as ombre and devôré.
The variety and vibrancy of these emerging talents ensure some exciting new directions for the future of printed textile design.
In my experience: Grace Smith
01 August 2012 by
Grace Ink: Quirky Doll Family
Grace Smith (Texprint 2007) runs her own business, GraceInk Design in the Scottish Borders. A screen printing fanatic, she creates her own quirky textile and paper products, selling them online through her Etsy.com shop, as well as in small independent stores and at craft fairs. In addition, she helps to run screen-printing workshops and is chairperson of the Crossing Borders arts collective. Grace talks to Texprint about her hectic but fulfilling lifestyle as a designer-maker.
Running my own business is great - but I never switch off.
It’s amazing to do a job that is just part of life, that makes you smile and that you enjoy getting up for in the morning. But it isn’t without downsides. I seem to be working 365 days a year, even on holiday - it is like my baby. I have also started running screen printing workshops which are proving really popular.
Downsides include the dreaded Tax Return.
I try to keep on top of it all and not let administrative stuff build up. Hopefully one day, I’ll earn enough to employ other talented people to do it for me.
Grace Ink: 4 Dolls Paper Print
I’m chairperson of the Crossing Borders collective.
The organisation runs an Art Trail every September, which I’m involved with. Many artists and craftspeople in the Borders area open their studios to the public.
I’m inspired by my beautiful surroundings, travel and different cultures around the world.
Setting up my own business has been very time consuming, and financially difficult, so a lot of my travel is now a lot closer to home, but this still provides inspiration. Living in the Scottish Borders, around lovely, rolling green hills is very calming for the mind, and provides clarity when working on new ideas. It is very important for me to be in a creative environment and working alongside 13 other artists in a studio really helps me to get inspired.
I’m in love with the screen printing process.
Screen printing is very versatile, allowing very intricate hand drawn designs to be transferred to fabric and paper – most of the time without having to use a computer. Achieving brush strokes and pen lines on fabric really gives a special handmade quality, which can be lost with many modern processes. I love the first reveal of a new screen print - there is a real buzz of excitement.I’m also very fond of linen and linen mix fabrics, which I use a lot in my work. My birdcage design is a firm favourite – I created it at university, but it hasn’t lost any of its appeal in the five years since then. It’s ended up on pretty much every product I produce.
Grace Ink: Birdcage Print Bag detail
I’m passionate about my work and teaching.
I love to teach - it’s a great feeling when my students have learnt something and had an enjoyable time too. Meeting new people and talking about what I do for a living, is great - I can get quite over-excited at times!
Texprint was invaluable at the start of my career.
I remember receiving the phone call to say I’d been selected. It was a surreal moment where I believe I asked ‘are you sure?’ It made me realise that I had created a collection that was appreciated, and that all the hard work that I’d put into my time at university was finally paying off. I was given the fantastic opportunity to take up a work placement in New Delhi, India. This provided me with lots of new inspiration, and I doubt I would be on the path I am currently without this.
Grace Ink: printed cushions
I’m planning expansion for my business – and maybe a road trip around Scotland.
I’m currently looking into licensing certain designs and also expanding the scope of retail outlets that I work with. I’d love to do some more travelling at some point and possibly work alongside artisans in Australia or my ultimate goal - Japan. I also want to produce some work inspired by Scotland and do a road trip at some point. I have a map that my Gran produced when she was about my age, of a road trip she did around Scotland. I would love to recreate that.
My advice to new graduates is: get some experience, apply for everything and never say no.
(Well for the first few months anyway.) Then you can be pickier with what you agree to… When I first started out, I’d done a couple of years of exploring, trying different things, seeing what I wanted to do with my life. Just after graduation is the best time to do this. When I set up in business I just assumed that I would be successful but the last three years has taught me that this is definitely not an easy task. I’ve felt like giving up on countless occasions, but I’m lucky to have family and friends who pick me up when things don’t go the way I intend. Most of the time I love it - my days are busy, varied and interesting.
In my experience: Susie Foster
16 June 2012 by
Susie Foster (Texprint 2010) is a freelance textile designer, specialising in mixed media. Drawing is the foundation of her practice and her delicate, sensitive pencil studies are often snapped up in their own right. Here Susie shares her insights into launching a career in design:
I work on a lot of different projects at one time.
I’ve created new prints for the Surtex fabric exhibition in New York. I’m developing needle punched fabrics for the spring/summer 2012/13 collection for menswear designer Manish Bansal. And I am working on accessories ideas with Sandra Murray, a Scottish designer I met at [textile design show] Indigo, Paris. I’ve also just designed a greetings card for the Barbican shop.
Susie Foster pleated textile detail
Being a freelance designer isn’t an easy option.
I feel incredibly lucky to be doing something I enjoy. Although there are some low moments, there are great days too and that’s what keeps me going. It can be tough staying positive and motivated but I was prepared for that - it’s a really competitive industry.
It’s hard to switch off.
Working as a freelancer means there can be a lot of uncertainty, which can be stressful. I’m glad I’m not on the nine to five treadmill, but it can be really difficult to switch off and take a break, especially if you live and work in one location. There’s also all the non-creative work that comes with being self-employed, dealing with tax, chasing payments etc, luckily my sister is a tax adviser, which helps.
Susie Foster: printed and pleated textile.
A typical day is a varied mix of the creative and the necessary.
I try to get a balance of the less interesting bits (invoices, emails etc) and the creative side (drawing, making, research etc). I enjoy the freedom and variety; it’s great to be in charge of your own time and to work on a range of projects. I like new challenges and working with different people, it’s exciting - and keeps you moving forward.
I’m inspired by nature, artists and the unexpected.
My inspiration can come from something quite unexpected but most frequently it’s found in nature. I find the patterns, processes and structures of the natural world are a never-ending source of inspiration. Also, the work of artists such as Antony Gormley, Bridget Riley, Mark Rothko, Eva Hesse, Andy Goldsworthy, Louise Bourgeois… it’s an endless list!
Susie Foster insect drawing
I love drawing and experimenting with materials and varied techniques.
During my MA studies at the RCA I started to explore scale, creating larger pieces, considering new ways of making and thinking a lot more broadly. I also started working with needle punching and it’s remained a favourite technique. I think it has a lot of potential still to be explored and I like that process of continual discovery. I still try to draw every day - it’s crucial to my textile work but it would be great to start exhibiting and selling pieces as an artist.
My Texprint experience in 2010 was hugely beneficial.
It was fantastic being chosen for Texprint. Just from the interview I got some great feedback and advice and made a contact that led to the sale of two large pieces from my portfolio. To show at Indigo was invaluable; I sold four pieces and met people that I continue to work with now.
Susie Foster: embroidery design for menswear designer Manish Bansal. Far right: butterfly pencil study
My plan is to keep going and keep the variety in my work.
I want to continue with my collaborative work for fashion and also to sell print designs. It would be amazing to work at couture level, where practicality is less of an issue and there’s more opportunity for elaborate and experimental textiles. I’d love to see my fabrics on a McQueen or Vivienne Westwood catwalk!
I’m working on some more of my own interior art pieces and developing my origami collages for print. I’d love to work with the Rug Company to produce designs for interiors. I’d also like to devote more time to drawing as an end in itself. I’ve been involved with teaching and community arts projects too and that’s something I also want to do more of.
Textile graduates need to persevere.
New graduates need to realise that it might take a long time to get where you want to be - but you can enjoy the journey and learn a lot along the way.
Palvinder Nangla: decorative textile art and design
04 June 2012 by
Images above: Palvinder Nangla, Bless This Home & White Indian
Texprint alumnus and creative maverick Palvinder Nangla talks to Texprint about his decorative and distinctive approach to textiles; the creative path of his career; and some timely tips for those about to graduate.
Your approach to textiles is highly individual - what drew you to embroidery and mixed media?
I come from a Punjabi background where embroidery plays a huge social role. My grandmother and I used to stitch for hours while chatting and drinking tea. The fusion of traditional hand embroidery with the elements of mixed media has given me new ways of expression.
Are there particular qualities needed for this discipline?
I guess it is very important to be patient. Stitching requires meticulous labour and it can take a lot of time. To be open-minded and passionate about your work helps too.
Palvinder Nangla: Self Portrait. Copyright Palvinder Nangla
How have you found working as a freelance designer?
Frankly, I find it quite difficult. It is a tough market out there and it is full of sharks!
What is the focus of your current work?
I have moved on to textile art and surface design. I still make fashion illustrations but now I draw my inspiration from haute couture. I have just finished a set of fashion illustrations made of up-cycled butterfly wings and I’m starting a new surface design project in collaboration with Cor Habeo, an ethical luxury shoe brand.
What inspires you in your work?
The creative process is the most inspiring thing of all.
What are the most enjoyable aspects of your work?
When I see ideas naturally grow and take shape until they are materialised and finished. I also love when others enjoy my work and it touches something inside them.
And the least enjoyable?
The financial part, I guess.
Palvinder Nangla: Freedom Pass & The Last Dance. Copyright Palvinder Nangla
You won the Texprint Chairman’s Prize in 2006 - what did this mean to you?
It felt great to have recognition from the textile industry. Texprint opens up a world of opportunities - but as I mentioned before, it is a shark’s world and I’m more of a guppy fish.
Highlights of your career since then?
I have shown with the British European Design Group at interior design shows ICFF, New York, IMM, Cologne and Maison & Objet, Paris. Through this connection, the tableware company Villeroy & Boch chose my work to exhibit at Salone Internazionale del Mobile, Milan in 2010. I also very much enjoyed collaborating with artist Hector de Gregorio who is also an RCA alumnus.
What are your plans for the future?
I plan to keep on working with Cor Habeo and to apply my surface design to bags and other fashion accessories. I’m also looking into organizing an exhibition to show my textile art.Long term, I would be happy to make a living out of my art and to be involved in haute couture with someone such as Christian Lacroix.
What is your advice for those about to graduate this year?
Don’t waste your time with egocentrism and work together as a team, collaborate, support each other. Unity makes strength. Keep it real, be humble and love what you do.
Texprint and Marks & Spencer collaboration: Patterns of the Future
06 March 2012 by
In an exciting collaboration with Foundation Sponsor Marks & Spencer, print designs by three of the designers selected for Texprint 2011 are being used in women’s fashion and bedding collections under the banner Patterns of the Future which launched at its Marble Arch, London flagship store and online during London Fashion Week in February 2012.
Instigated by Kate Bostock, M&S executive director for general merchandise, the project is a first for Texprint, and the embodiment of Texprint’s goal to make mutually constructive introductions between new design talent and forward thinking brands and retailers.
Geri Tilly, Annette Browne and Neil Hendy of Marks & Spencer reviewing the work
M&S’s head of design for brands Helen Low and head of womenswear Neil Hendy visited Texprint London in July 2011 where they were impressed by the work of Texprint’s 2011 print designers. A group of the designers were invited to M&S head office where the team shortlisted three - Toni Lake, Beth Pryor and Carol Pau - with the aim of taking their designs from paper to its customers’ wardrobes.
From the three, Toni Lake’s sumptuous drawings have been printed – by M&S supplier and Texprint supporter ATT Concorde – and used in an exclusive range for M&S within its Autograph and Limited Collections. Read more about Toni here.
The Autograph range features two of Toni’s kaleidoscope-style drawings in a knee-length shift dress and a maxi dress, while the Limited Collection presents Toni’s swan designs in a T-shirt, a tunic dress and a zip-fronted knee-length dress. One of these pieces is to feature in an edition of the Mail on Sunday’s YOU magazine on March 11, 2012. Toni says of her latest commercial success: “I think the garments look fantastic and I now see the prints from a different perspective. Seeing the final pieces has made me so proud.”
Further print designs by the selected designers are expected to feature in M&S’s product ranges spring and autumn 2012. Beth Pryor has also enjoyed a five-week work placement with the company. Beth says: “I had a great time learning new skills and working in a professional studio environment with such wonderful teams.”
The designs of Toni and fellow Texprint designer Carol Pau are to feature on dynamic bed linens in the Home range and will be widely available through M&S stores.
What Texprint means to me: Lisa Stannard
18 February 2012 by
Designer and illustrator Lisa Stannard credits her Texprint experience in 2009 as being the catalyst for setting up her own business. Lisa, who won the Texprint Colour Prize that year, cites her inspirations as: nature, people, 1970s Pucci, Japanese artists and fashion, and fashion photography. Lisa’s versatile and sensitive graphic style, effortlessly encompasses printed textiles and fashion illustration.
What did you gain from the Texprint programme?
I don’t think that I would have had the confidence to set up on my own if it wasn’t for Texprint. Not only did we receive great advice on becoming a self-employed designer, but the Texprint team offered impartial advice on our work, suggesting ways to improve it, as well as ideas for future projects. Before we exhibited at Indigo, Paris we were given advice on how to handle potential clients and how best to show your work to buyers. Another bonus was that I made some really good friends, who I remain in touch with to this day.
Lisa Stannard, feather print for LA based brand Whitney Eve, left, illustrated tote bag, centre, print design for Matthew Williamson, Spring 2011, right
Your career highlights so far?
Winning the Texprint Colour Prize was a great start, as it came with a donation from Pantone, Europe and the opportunity to exhibit my work in Hong Kong at Interstoff Asia Essential - which was an amazing experience. Setting up my own business was a major achievement after Texprint. I have learned so much about business while being challenged all the time by new clients and fresh projects. At times it has been really hard, and I have often wondered if I could get it all done – and whether I was running my business right... and then suddenly great things happened. I was lucky to gather amazing clients early on, who I then formed great relationships with. I’ve designed for ASOS, Miss Selfridge and Victoria’s Secret, as well as illustrating catwalk collections for Amelia’s Magazine, and for UK fashion chain Oasis’s style magazine in association with the creative design agency Mill Co.
Lisa Stannard print
I have developed a strong relationship with Whitney Eve, a LA based brand created by US TV personality and designer, Whitney Port. After working with the brand for some time now, I’ve recently accepted a position as a designer with the company based in LA. I contribute to the creative development of the brand, working closely with Whitney to achieve her vision - by helping to design the range, including all the print collections, the look book, tags and website artwork. The brand has a place at the runway shows at New York Fashion Week, held in the Lincoln Centre on February 15, 2012, and I’ve been there helping with the show – it’s all very exciting. I’m also proud to have been featured on Vogue.com last year, following a commission to illustrate Lily Allen’s debut fashion collection. I’ll maintain my online shop selling art prints and a limited T-shirt collection.
Lisa Stannard illustrations for the Lucy in Disguise debut collection as featured on Vogue.com
Key advice to new graduates?
Be optimistic, put yourself out there and meet new people and network.
Be prepared to work hard, most students I talk to (through my teaching work) can’t wait to graduate – thinking they will never have to do as much work again... but I tell them - this is where the hard work begins!
Do lots of internships with a variety of companies - I wish that I had done more while I was still at university. I interned at Matthew Williamson after graduating for three and a half months in 2010, and although I had to fund much of this myself, it was great, I came back to my own business feeling more confident and reassured in my profession - I learnt so much from everyone there.
Don’t lose your creativity, if you are thinking of going into business alone there is loads of admin and business development work to do which can take precious time away from designing... stay inspired!