HAVE I STAYED TRUE TO MY BRIEF?

WILL MY CLIENT (JOHN LEWIS) BE SATISFIED WITH MY COLLECTION?

‘Your client is a mid to high-end very commercial large department store. They would like you to create a coordinating collection of 6 patterns to be digitally printed (created using your preferred medium) for the female 25-40 age range for Spring/Summer ‘19. These patterns are going to be used for their in-house collections across various product ranges’

John-Lewis-Milton-Keynes-Peter-Jeffree-Photography-bedroomhds_hero_desktop

During my formative and explorative studies in the early stages of this project, I chose to put keywords at the forefront of my explorative designs, some which would focus but not dictate my creative endeavours.

FULL-BLOOM, COLOUR, FORM, TEXTURE, BOLD ALL OVER DESIGN, OVERLAID PRINTS & LUSH COROLLAS.

Throughout this brief, I made sure that my ideas/concepts/designs reflected these integral keywords. incredible insight into new and exciting designers was obtained when inputting specific words into search engines such as Pinterest, WGSN and Google:

KAROLINA PRINT STUDIOS, ROBERT KUSHNER, THEVENON, TOM TAILOR, TIMOROUS BEASTIES, MEG LEWIS, ANNA MURRAY, GRACE WINTERINGHAM, ANNA JAYNE, WILLIAM BURGESS, ABC CARPET & HOME, TRESCO, DESIGNERS GUILD, GP & J BAKER, STYLE LIBRARY, BLENDWORTH, JOHN DERIAN, AXEL VERVOORDT, KAREN NICHOL……the list could go on.

I see so many designs that utilise an abstract and stylised way of working but without much observational skill that I decided to really push myself to create beautifully hand-drawn and coloured designs and motifs that could really hold up against some of the best designs currently on the market. I know how difficult it is to make a mark in the cutthroat creative industry, which is why I found it so frustrating that no core observational drawing was offered as part of this module. I have been extremely lucky to have grown up with two Artists for parents and they have always instilled within me the importance of being able to ‘see’ and observe.

I know I have fulfilled a collection which is both familiar yet forward thinking. Who says that Design is just for one specific demographic. Design is universal.

HERO

PRODUCTMOCKUPHERO

SECONDARY NO.1

FloralFoliage(+70)

SECONDARY NO.2

ChosenDesignMotifs_May18(4)

BLENDER NO.1

FRONDMOTIFBLENDER

BLENDER NO.2

ROSERIPBLENDER

BLENDER NO.3

BLENDERROSEBUD

How would I describe my collection in 5 words?

  1. TIMELESS
  2. CLASSIC
  3. FLUID
  4. ORGANIC
  5. RICH

Thank you JOHN LEWIS for allowing me the opportunity to create a dream for someone.

JOHN LEWIS: AN EXPECTED JOURNEY

MARKET RESEARCH – JOHN LEWIS

Like Bilbo, I decide to undertake an adventure. An adventure (nightmare) into the City Centre of Cardiff, primarily to visit John Lewis.

You may ask the purpose of this adventure. Simple really…RESEARCH. When initially looking at Mid-High Range Department Stores, the obvious came to mind:

DEBENHAMS, HOUSE OF FRASER, SELFRIDGES, JOHN LEWIS, HARRODS, BROWNS

But then I started to really deconstruct each store, and found that certain stores were targeted at slightly different clientele.

MID RANGE: DEBENHAMS (Sales devaluing brand) & HOUSE OF FRASER

MID/HIGH RANGE : JOHN LEWIS & SELFRIDGES

HIGH RANGE: BROWNS & HARRODS

I would have loved the opportunity to compare JOHN LEWIS with SELFRIDGES, but also the nearest SELFRIDGES is in Birmingham; Cardiff not having a particularly good/diverse range of Stores. The final decision was JOHN LEWIS @ CARDIFF. Upon first inspection in my chosen store I must say I was extremely disappointed at the lack of physical Floral/Busy Bloom Wallpapers/Fabrics.However I did find some of interest:

SANDERSON: A Home & Country Style incorporating English garden palettes.  The design offers a timeless and easy elegance to modern family life and offers the warmest of welcomes. Simply put, it feels like home. I was bowled over by some of their Floral designs

 

 

HANDPERRY COLLECTION, WISTERIA FALLS, AMETHYST, AVAILABLE IN WALLPAPER, FABRIC & BEDDING, ACCENTUATING PAINT IS LILAC SHADOW

I absolutely adore this design!! The colour is rich, yet subdued. Yes, there is no overlaid print pattern, but that could be really easily incorporated in the form of a continuous line drawing/observational study. There is an abundance of a textural and generous pattern. Is it bold enough for the brief outline?

HANDPERRY COLLECTION, MAGNOLIA & BLOSSOM, BLOSSOM/LEAF, AVAILABLE IN FABRIC & WALLPAPER, ACCENTUATING PAINT IS CREME DE VIOLETTE.

SANDERSON would be a company I would love to explore/research further.

As much as I absolutely adore William Morris, I have purposely chosen to include other brands and designs.

IMAG0767IMAG0765

When I had thought that there was not much on offer in terms of research material, I cam across this!!! I WAS IN HEAVEN. Spending nearly 2 hours in this department was invaluable. I came across incredible some incredible Design Companies, most of who I have never heard of before:

SWAFFER: Founded in Peterborough in 1973. UK based. Proud to demonstrate that all production, manufacture and print is carried out in the UK. Offering Prints, Weaves,  Embroideries and Velvets.

 

SWAGGER, IN BLOOM COLLECTION, IANTHE, COLOUR 01 & 06, AVAILABLE IN FABRIC ONLY

ARTEMISIA COLLECTION, ROSA LINEN, COLOUR 25 & 65, AVAILABLE IN FABRIC ONLY

These are some of my all time favourite designs that I feel lucky to have come across on my Research journey. It makes me want to continue on with my observational studies, focusing especially at expressive and beautifully fluid florals. This company’s designs are exquisite; who knows how things turn out, maybe a job working for this company would be exactly what I need.

GP & BAKER: UK Based, and founded in 1884Designs from GP & Baker are skillfully adapted to meet with today’s tastes and colour palettes and in addition to developing its own unique handwriting, GP & J Baker continues to grow its reputation as one of the world’s innovators of fabric design. Initially purveyors of Turkish Rugs and Rich Artisan carpets, the company eventually progressed into the manufacture and sale of Textiles. Highly inspired by early 1900s Botanical Art and Horticultural influences.

EAST TO WEST COLLECTION, THERAPIA, COLOUR LINEN, OCHRE & INDIGO, AVAILABLE IN CURTAINS AND BEDSPREADS

Having previously listed the V&A in London back in September, I was reminded of rich, textural and vibrant hand crafted Indian Textiles primarily documenting CHINTZ design.  This particular design by GP & BAKER really does intertwine the ideas and cultural handwriting of the East and West. Although the images above do not show in detail the spectacular machine embroidery embellished onto the surface of the Linen and Viscose mix, I was drawn to this surface pattern, design and colour like a moth to a flame; one of the most joyous and important jobs of a Textile Designer would have to be finding new areas of inspiration, finding new design companies one would love to work/design for, and being able to explore new processes and techniques to further my own creative journey.

RIO VELVETS COLLECTION, BARCELONA, COLOUR MULTI, INDIGO & TEAL, AVAILABLE IN LOOSE & FIXED UPHOLSTERY, CURTAINS & BEDSPREADS

INCREDIBLE!!!!!! When I saw this design in John Lewis I was blown away by the colour and pattern juxtaposition. The pattern and design has been cropped into square and rectangular areas, of which I found extremely personal and individual to my own style and visual handwriting. The design screams aloud with huge cultural and geographical references to Latin culture, not to mention I can see my previous HOCKNEY, Mulholland Drive surface pattern influence within this design too.

BLENDWORTH: UK Based. Established London, 1921. Influenced by traditional English Home and Country. Focus on original distinct colour and design. Commercially aware design company, aware of trends but not focusing on them.

MYSTICAL COLLECTION, WISTERIA, COLOUR 001, AVAILABLE IN FABRIC & WALLPAPER

Impressionism inspires ideas of enchantment and romanticism. Expressive rich pallets offer a multi-faceted and highly textural approach to the lustrous subject fusion of oriental florals and birds and butterflies. Again, what an absolutely incredible design incorporating both Stitch and Print. I think I will source a workshop looking at advanced Machine Embroidery and will endeavour to practice and explore to make it become second nature.

DESIGNERS GUILD:

8055684365

TULIP STELLATA COLLECTION, TULIP STELLATA, COLOUR FUSCHIA, AVAILABLE IN FABRIC & WALLPAPER.

I purposely choose this design due to the strong influence from the Dutch Golden Age of painting. Vivid, masterful and rich floral observational studies are interpreted through digital and rotary design. Base cloth selection available in numerous fabrics entirely suitable for soft furnishings and upholstery. WOW!! I never considered myself a floral type of person, but have been fully converted by personal and private market research. It makes me want to continually better myself, so I think an intensive drawing and painting class will be sourced.

RESEARCH: CURRENT LIGHTING STYLE/FASHION

Before setting down any concrete Surface Pattern/Product Design ideas, I thought it prudent to undertake a little investigative work myself; research into current commercial lighting trends in two of the largest homeware stores within the Cardiff Area…IKEA & JOHN LEWIS.

I craved to to understand more of the ideas and work that goes into the Product Design side of my project; SHAPE, FORM, PATTERN, TEXTURE, LIGHT QUALITY, DESIGN & AESTHETIC are all incredibly important when finalising details of the design, ultimately affecting production.

I especially like this pendent light for it’s structural and geometric qualities; the light emanating from between each strip has given me an idea to utilise part, not all, of the surface of the proposed prism structure of our own light. This would mean that there would be both a back light (print & stitch surface pattern) and a diffused light coming from the triangular strip housing the LED’s (which will possibly be diffused using a specialised tube fit for lighting purpose.

The contrast between the bright and indefinable bulb and the ambient and sinuous filament allows me to absorb valuable information when contemplating the definitive idea for light we will use. As much as I like both amount of light generated, I feel that one would be too direct/bright and the other too geographical and dim.

I adore the antithesis of the geometric nature of the previous lighting solutions. The natural and fluid forms of a special type of paper allow the light to be manipulated, by the buyer, to whatever shape and form they so wish. ‘Create your own personalised pendant by combining the lamp shade and cod get. You can create your own unique design by crumbling the paper layers into different shapes‘ The different tonal qualities of light is beautiful.

The fluid lines of this design draw they eye up towards a constant kinetic pattern; I LOVE IT. Could I incorporate some of the more linear qualities of Mulholland Drive in a pattern such as this? The triangular structure mirrors my groups’ design, which in turn was inspired by the pylons in Mulholland Drive.

The organic structure of these lights is striking. I must admit, the pattern and form created by manipulating the plastic really resonates with me. Subsequently, I would love to incorporate some of the elements allowing the light to be broken by the uniform spaces of each gap. Maybe strips of material could be embellished with stitch and print, and these strips could then be assembled together? Could this idea be the result of my trip to see the Kaffe Fassett exhibition? A patchwork ‘quilt’ of sorts? Acting as the primary surface pattern. I think my next job will be to explore the colour, pattern, shape, texture and linear quality found within Mulholland Drive.

WOW!!! I was instantly drawn to the pattern. Strangely enough the final pattern was the result of cutting out the unwanted material to gain the pattern itself; in theory a negative of the pattern was removed to create the desired pattern. The 360Degree nature of the lighting source would allow the most incredible contrast/pattern to be visualised against, say, a wall. I have been struggling to visualise how the negative/positive of cut-outs would be created for my final design, if I were to use the idea. However, now I have seen this idea in the flesh, I will begin to experiment with materials strong enough to keep their shape, but pliable enough to manipulate.

Reminds of of Oranges, and how each segment makes up a whole. Again, I was drawn not to the overall shape, but rather to the spaces in between each light. I think the purchase of a LIGHT BOX would allow me to experiment with the translucency of specific materials, how they work within our concept and will allow me to gain knowledge of what works and what doesn’t.

Time to EXPERIMENT.