pattern informs the piece: Zandra Rhodes exhibition review

Finding a couple of hours to spare in London last month I took the decision to head across the river to the Fashion and Textile Museum, and specifically, the Zandra Rhodes: 50 years of Fabulous exhibition. It proved to be a perfect visit for where my head was at; juggling fashion and textile design in both a design commission and my academic life.

Zandra Rhodes is first and foremost a textile designer although it is her fashion designs that carry the printed and embroidered pattern she is famous for. The silhouettes of the garments, constructed often from multi layered draping fabrics are guided in their execution, in fact dictated by, the pattern design of Zandra’s strong handwriting or pattern, and executed using print processes and surface manipulation.

I’ve included plenty of images of these outfits in university design lectures over the years, discussing how the designer maintains the focused design style and aesthetic but also manages to evolve the work through the decades.

As ever it is very different when you get the chance to see the fabrics in real life. The white printed pigment on chiffon from the ‘Lovely Lilies’ collection (below right) and the quilting over screen printing of her signature swirling motifs as borders and placement prints provides the evidence that Zandra Rhodes is first and foremost exploring fabrics to lead garment design.

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The variety of fabric manipulation and surface embellishments was fascinating to see, some rather crude and some pieces held their own more than others. The ease in which the textiles worked as one with the garment design is certainly demonstrated throughout the exhibition, and it was useful to see the screens for printing to see the composition of the designs later on in the exhibition.

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The theatricality of Zandra Rhodes’ work was a perfect match for opera costumes, and upstairs in the gallery a number of interesting examples were showcased. I also enjoyed seeing original sketchbooks alongside a film of the designer talking about how important drawing is to her. I hope many textile design students visit the show and take her advice.

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There is a significant body of work on exhibition here and it is important to view it as a considerable output of a single designer with a thirst for carnival. Her practice spans fifty years, hence the exhibition title and although her style is not for everyone, her contribution of bravery, exuberance and fabric play should inspire others to take creative risks and find a way to make the work they want to make.

I would also recommend the small showcase of company overview and embroidery work by Norman Hartnell as you enter the gallery – stunning pieces from a different era.

The show is on until the 26th January, 2020.

creative sparks in Armenia

Combining a design career with an academic role often means my weeks are busy and varied, but I had a week at the beginning of this month that was very different to the rest! I’ve been lucky enough to be given an amazing experience as academic at Norwich University of the Arts – a trip to Armenia. The university was successful in securing a British Council bid to work with students at the Tumo Institute in Yerevan, Armenia to help students to create design work with the aim of making products to sell when they come to work at the university in a few weeks time. This is speed educating! A team of three of us, Will – a business mentor from the university, Mia – a graduate from the BA in Textile Design and me – the lead subject academic. Fortunately we all got on brilliantly, complimenting each others’ skills and all being very happy to adapt in order to make the most of the experience. I was only able to be there a few days, while the other two stayed longer.

The journey was long, transferring in Istanbul and we arrived in Yerevan in the middle of the night so it wasn’t until the morning that we could see what the city looked like. We had some time to rest, so we didn’t! … and instead got up and explored … of course! The architecture was a mix of Modernist Brutalism, Art Deco and Post-Modernism mainly and a pink stone was dominant. Many of the buildings featured wonderful carvings and at many points all three of us were heads and cameras up capturing the city. The food in Yerevan was a complete hit with us and I could have stayed far longer and become far wider. Everywhere we went there was wonderful fresh produce: cheeses and meats, pastries, vegetables and breads, all beautifully presented. Luckily we were all happy to share the dishes to ensure we could try as much as possible.

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There was much excitement as we went to meet the team of students we were going to be working with, and we took examples of our work to introduce ourselves as well as a general plan, and open ears, so we could discuss with them all their own creative ambitions. These first few days were really important to get the project up and running before I had to return to the UK. Tumo studios was set up on the first floor of what was previously home to a wealthy family and there were signs of the better days including murals on the ceilings and ornate tiles. The workshop spaces were really inspiring, catering for print, ceramics, jewellery, sewing and more. Products made by students were available for sale too.

Everyone was very friendly and helpful, as well as really excited to get stuck in. We shared our ideas and thoughts about the project and Mia and I talked briefly through some of our own work. The first afternoon went by quickly and then the three of us were off to explore the city again – I really wanted to see Mount Ararat – the mountain taller than Mont Blanc, (and apparent resting place of Noah’s ark) that has in history been on Armenian soil, but is now behind a Turkish border. We climbed steps and more steps to the highest part of the city giving us views over the varied levels of prosperity in the capital . With sunglasses on, when there was a break in the clouds we could just spot the snow and shady top of Ararat, but sadly the view was not easily captured on camera – Wikipedia has better pics!

The next day was a very long but hugely inspiring one. With our local guides and our researcher eyes in we set off to visit three fabulous places to gain inspiration. The city museum presented the history of Armenia. We learned about traditions, society, historic events and politics, and of course the section about the Armenian genocide was hugely upsetting. We were not allowed to take photographs there but we had other places to go so we crossed the city, including a short trip on the metro (it has one line) to get to the Folk Museum. This was a smaller museum but packed with so much beauty! Here we heard about and saw the traditional crafts and our guide explained the processes, tools and materials involved. I took many photographs! The lace and filigree were particular favourites of mine.

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We were full of inspiration but needed energy so lunch was in a restaurant with our hosts helping us to navigate a menu of local dishes – I had lamb soup with pomegranate and mint – it was very good! Soon we were whisked off to the carpet museum / factory and the journey was a great opportunity to see more of the city and suburbs. It was fascinating to hear the history of carpet / rug making in Armenia and I even had a go at learning the right knot but I was very slow in comparison – there is video footage somewhere – and in the picture below, top row, right hand side, you can see my four cream coloured tufts that they have no doubt got rid of once I turned my eyes!

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The colours used to dye the yarns are still made from natural ingredients and it was right up Mia’s street! There were some secret ingredients of course! We were all inspired by the sights, stories and the motifs, border patterns and processes involved. What an amazing day. We headed back to the studio to think about what we had seen, captured some ideas on some post-it notes and discussed the plans for the next day. Another evening of foraging fabulous food in the restaurants of Yerevan did us well – we all ate too much again.

My final full day was spent in Tumo studios leading some workshops to develop the projects. Will, Mia and I planned the next week of workshops and activities, sharing all our different knowledge and experience, alongside talking through the individual ideas with the participants. I ran a session about motif and composition development and it was fascinating to see how differently these young people took on the challenge compared to the undergraduates in England I have worked with. These students were far happier to play with the process and not worry about it not working, and gave the testing much more time. Can this be the different schooling? Several attempts at the same thing, sharing and much discussion, lots of giggling and trying again got us to where we needed to be, lunch!

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We decided to eat all together in the studio so we ordered in food, (I tried cheese soup – it really is like fondue) and as we sat together we tried to learn some of the language … we laughed a lot. We were also bought a local honey cake to try which was very good. In the afternoon I led a practical session about repeat patterns and design rhythms, and again we talked through individual ambitions for design ideas and product potential. The participants will be heading to Norwich next month to develop and resolve product outcomes to test in a commercial setting. We discussed differences between Norwich and Yerevan and about the next phase of the project. At times we had visitors popping in to see what was going on but we kept on track and too soon I was having to say my farewells and leave the group – with the silver lining of knowing I’d see them in Norwich in May.

One more meal, a final evening with Will and Mia, a supermarket sweep around a 24/7 shop to buy gifts, back to the hotel to pack up, a twenty minute nap and that was that, it was Thursday – I flew out of Yerevan in the very early hours, swapping ‘planes in Istanbul and on to home.

I was so sad to leave the people and city, and was so envious that Mia and Will had another week to see more. In only a few days I had experienced somewhere so interesting that before getting there had felt daunting. Everyone we met were so friendly, helpful and proud of the city and country. I had the chance to learn about a different country and textile culture while working on a really different project, testing my teaching in a very different situation. It really was a great opportunity, hooray for saying yes!

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Thanks to Will and Mia for some of the photography and being such great team mates!

bespoke pattern for Birmingham BHX

Designing bespoke pattern for clients is something that I have made a key professional design interest. Communicating a sense of place, historic reference or activity as pattern is what I really enjoy and over the years I’ve been on many site-visits to interesting places to learn about what the client would like or definitely not like. This visit was no different. I love the anticipation of finding out more, a new project to get to grips with, and all my design experience to apply to the challenge …

Some of my previous design work was used as a reference for context images by the original architects, proposing my patterns and stating my details – note – never send artwork without your contact details attached! Phone calls were made, samples were sent, bids were accepted and then a call-up. Please come to the airport for a meeting. There’s a tight deadline, a budget, and something the client knows they want. In a nutshell the brief: Celebrate Birmingham’s buildings in a one colour, repeating pattern that works close up in detail and from a distance as a visual rhythm. Buildings need to be identifiable.

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With any project I carry out research, ask the client lots of questions and evolve a design approach subject to the answers to my questions. Production methods, fabricators, material choices, colours, budgets, time-scales and of course client ambition for the project shape the design language and development of the project. I set off to take photographs of central Birmingham and climbed tall landmarks to get good views. I took photographs, made sketches as well as notes. I had some buildings in my mind I knew needed to be included but I also wanted to use others , less iconic ones, as visual rhythms to play with negative and positive shapes across the composition.

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Back in the studio I chose paper cut-outs as a clear graphic way to create the buildings, as I have done for several commissions including for the Barbican and TfL posters. Once the individual buildings were cut out I scanned in the artwork and spent many hours moving everything around in Adobe Illustrator. I was testing rhythms in and out of repeat and shifting scale, proportions and pairings. This can send me back to re-cut something or add new details. To some people those hours of making subtle tweaks and changes wouldn’t even be noticed but to me it’s so important that every inch of the design works the best it can and it can be time-consuming – but it will be worth it. I can’t stress this enough to students embarking on their Final Major Projects at the moment! When you know what scale the final artwork will be produced at you need to check the correct level of detail as working at a computer screen can be very misleading for artwork several metres long!

A concept sheet and initial design piece was sent to the client for approval and at this point I had to label the buildings I’d included. Once approved I was able to continue building the full repeat, adding further buildings, and make test prints with the help of the team at the Window Film Company – who I already have award-winning work with! They really know their stuff and several phone calls later to check small details regarding file specifications and production issues resulted in the excitement of samples to sign off, both by me and the client. A couple more proofs for colour matching and scale of design was checked and then we were good to go. Quality is everything when it as your name on it, and making sure that everything about the design is right BEFORE it gets installed is rather important. Sleepless nights before installation of projects has been known!

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This project originally came my way almost a year ago with some scoping phone calls and emails, and now I’m able to share photographs with you. I’ve had people let me know they’ve seen work that looks like mine at the airport – hoping I hadn’t been copied – but no, this time it is mine! When Birmingham Airport tweeted the pictures last week I was delighted that I can now share images of this project from 2018 – when I was Birmingham-based as it states, and now it feels rather a fine farewell to the place I called home since 2005.

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(onsite pictures – official photographs from Birmingham Airport)

Yes it is by the toilets, yes I have already worked on two commissions for public toilets (Colchester / Dedham many moons ago), and I can’t promise this will be my last!

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weaver extraordinaire: Anni Albers

If you are interested in textiles and haven’t heard about the Anni Albers show now on at Tate Modern in London, then a.) where have you been? and b.) get there fast if you can!

This has been a much anticipated show for me. Having been enjoying many other people’s pictures via Instagram since the exhibition opened I was most excited to get to the show and I’m so glad I did – I went round it several times and breathed in the history I had learned as an art student myself; typewriter patterns from Bauhaus lessons, the infamous diploma piece with sounds absorbing properties in the yarn, and those classic Bauhaus photographs, but there was so much more. Colour, cloth, pattern, rhythms, photographs, works on paper, products … The woven structures and yarns drew everyone in for a closer look – so much so that the alarms kept being set off and the guilty took a sheepish step back! There was a fascinating display of the research of historical textiles from Albers’ own collection that made perfect sense in how she interpreted and worked with the process of weaving.

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Experimental, commercial commissions, religious pieces and jewellery are some of the aspects of this considerable show. As with most well-received shows, the audience conversations themselves were fascinating; lots of discussions about experiences of weaving, hours at the loom as well as working out what she must have done.

It has been the architects, the painters and the product designers, usually men, who have become far more well known from the Bauhaus, including Anni’s husband Josef Albers. The avant-garde German art school’s first director Walter Gropius stated there were equal opportunities for all when it was established in 1919 and yet women were generally encouraged towards the textiles workshop, a place and craft deemed more suitable. Anni never let this distract from her focus despite wanting to be a painter. Her creative output of a lifetime, as edited in this exhibition, goes a long way to demonstrate her will to explore both the context of design and the development of art. She will have no doubt inspired many who have been introduced to her as a result of the show and her legacy will continue to influence far beyond the context of textiles as a craft for women. I came away with many notes and a head filled textile excitement – happy weaving everyone!

Exhibition ends: 27th January 2019

SALE of original Plot to Plate products

As I’ve had to move my studio I’ve put some products up for sale via social media in time for Christmas. Most of these products have been screen printed and made by me, and were the very first products I launched in the Plot to Plate collection. You can buy 3 items for £20, with free postage to UK addresses. All you need to do is decide which products in the picture you would like, head to https://www.paypal.me/KateFarley to pay the £20 or multiples of, list the letters relating to the items and add your postal address. I’ll notify you if any of the products are out of stock and suggest a replacement as appropriate.

Please note: if you would like to have the items before Christmas please order before midnight on Tuesday 18th December.

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New / old horizons

It’s been a while since I’ve written here, and it’s been a life-changing couple of months. Resigning from my academic role at Birmingham City University and relocating the family to Norfolk was a huge decision for us all, but we are out the other side, living in Norfolk, settling in and enjoying the change of scene. I’ve taken up a new role as Course Leader for both the BA Textile Design course and the BA Fashion course at Norwich University of the Arts, and I’ve received a warm welcome. I’m enjoying spending time back in central Norwich too and the campus is made up of some fabulous buildings, see below.

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I knew the change in environment was going to be for the better but I’d underestimated quite how good it would be. Commuting to work on a bus rattling along the country lanes is a world away from the streets and railway tracks of Birmingham. We are making sure we are out in the landscape as much as possible and visiting new and old places to find our feet including Rockland St. Mary, Ranworth and Winterton. I feel as if I can breathe more deeply, and yes, their will be more photographs of reeds and the drawings may well feature horizontal lines!

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The end of an era at textilesBCU

If you follow me on any other social media channel you will be well aware I had an amazing send-off by my colleagues at BCU last week. After almost thirteen and a half years working on the BA Textile Design course as lecturer / senior lecturer, and for the last two and a half years as course director it is time to move on.

This staff team have been amazing to work with and it was a hard decision to go, but as I’ve written before, there’s more to life than work, and we want a change of scene for our family. I have worked hard to deliver five big lectures in my final three weeks and decided to end with a series of slides to remember (with the final slide copied below) – as well as hand-over the role to colleagues, empty an office and say farewell to dear friends and students. Here are some pictures from the last week.

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I have been overwhelmed by the number of cards and gifts I have been given, some beautifully hand-made or carefully sourced – so thoughtful! I was also delighted to receive a table-top hand loom I had wanted for a few years now – an old 8 shaft Harris loom warped up by the amazing Sheila, and a beautiful chair, with special thanks to Kelly-Marie, Brenda and Kavita as it has printed upholstery featuring quotes from staff and students past and present that brings tears to my eyes as I read the kind comments. There is also an assessment sheet on the back of the chair – a tradition I started many years ago as I presented staff with their own as they left, so indeed it was my turn – I passed!

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My final day was marked by a third year send-off I could not have predicted – a parachute ride for a textile mini-me from the third floor in Parkside. What precious memories! I send a huge thank you to everyone who helped make this a celebration and who have shared their appreciation of my efforts over my time at BCU. It’s a small world and I know I will cross paths with these wonderful people again!

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