I have long been drawn to rich colours, the opulence and eclecticism of European interiors and textural details. This inspired my first few collections. I re-iterated on my plush velvets and experimented with colourways and new motifs.
But then I began to wonder if it would be a good idea to offer something a bit more neutral. The lavishness of the velvets was seductive, but they sometimes felt too heavy for certain schemes that were brighter and airier.
The next time I was doing a marbling course I decided to experiment by marbling on birch plywood to see how it would respond. The light, grainy surface was significantly different from my usual base material (coloured papers) and I was pleasantly surprised with the results.
The marbling paint followed the woods' grain marks organically, as if flowing along a shallow stream, and then settling in its' grooves. After you lift the plywood from the water the ink leaves a stain of colour that ebbs and flows across the surface. Sometimes I will dip the wood in the ink again to layer patterns, slowly building up the textural motifs into a more intricate design.
The designs on the wood are then used to create cushions or mirrored to become repetitive tiles, for use on our wallpaper and fabric.
The designs come into their own in interiors schemes that embrace a lighter colour palette and organic textures (think raffia, wood, and linen). Houses with larger windows, high ceilings and large open-plan spaces will benefit from their pastel colours and elemental designs.
The designs are printed on a linen and cotton blend fabric in the United Kingdom. I pride myself on working with domestic suppliers who represent the best offering in their sector, and as a homegrown business, I understand the importance of cultivating these relationships. In a time of great uncertainty, I am hoping to continue to create and design interiors that offer an opportunity to escape and indulge in the transformative qualities of colour.
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