Made in Glasgow by Local Heroes

28 July — 12 August 2018 58 Albion St, G1 1LH (Merchant City)

DESIGN EXHIBITION AND SHOP

MADE IN GLASGOW

BY LOCAL HEROES 28 July — 12 August 2018 58 Albion St, G11LH

Along with our project partners at the Glasgow Chamber of Commerce, we believe that the design community in Glasgow well-deserves the accolade ‘Local Heroes’ and so we’ve created a special celebratory pop-up to coincide with the hosting of the Berlin / Glasgow 2018 European Championships. The showcase features the work of over 20 designers and studios from Glasgow and a special guest from Berlin.

We’ve brought together a wide selection of work from the city’s young and established designers. Over 30 high quality products designed in the city, including 12 exclusive commissions, are on display at 58 Albion Street, Glasgow, G1 1LH (turn to the back cover for a map of how to get here from George Square).

Every exhibit is for sale instore and online at localheroes.design We’ll be open from Saturday 28th July and then every day until Sunday the 12th August. We hope you enjoy exploring design from Glasgow in person, online and through this free newspaper.

Please check our social channels for updates about opening times as these will vary to align with local events such as the European Championships and the Merchant City Festival.

Facebook and Instagram: @localheroesdesign Twitter: @LocalHeroesScot localheroes.design

Made In Glasgow by Local Heroes is brought to you by Local Heroes and Glasgow Chamber of Commerce.

Our exhibition is the outcome of a cultural and economic project made possible with funding from Creative Scotland and Glasgow City Council.

CREATIVE SCOTLAND Creative Scotland is the public body that supports the arts, screen and creative industries across all parts of Scotland on behalf of everyone who lives, works or visits here. We enable people and organisations to work in and experience the arts, screen and creative industries in Scotland by helping others to develop great ideas and bring them to life. We distribute funding provided by the Scottish Government and the National Lottery.

“Made In Glasgow by Local Heroes is an opportunity to see and buy the work of talented emerging designers and makers during the European Championships, and an opportunity for visitors and locals to see that beyond the homogenous high street lies a wealth of local brilliance. Glasgow is a city with a rich identity of creativity, boldness and energy. Walk through a space between houses and you’ll find a yard with a roller shutter, a blockwork wall and tin roof within which a jeweller, a printer, or a fashion designer is making the thing that will express the future style and creative edge of this great city. We’re really excited to be supporting this design showcase in celebration of Glasgow’s hosting of the European Championships.

Go see it – and buy something special that you’ll treasure.”

— Clive Gillman, Director of Creative Industries Creative Scotland GLASGOW CHAMBER OF COMMERCE Glasgow Chamber of Commerce is a membership organisation with a membership of 1200 businesses from Glasgow and its wider metropolitan region. The Chamber’s mission is to support its members in the growth of their businesses and to champion the economic success of Glasgow. The Chamber specialises in events and training to support its members in addition to driving forward a number of key policy agendas to improve the city of Glasgow. It also supports its members to trade internationally through services including export documentation, advice and access to global markets.

“Glasgow has a thriving design sector which plays a major part in contributing to our city’s economy and this exhibition is a wonderful way to showcase a range of design excellence. Complementing and supporting partner activity on the Glasgow Investor Pitch, Local Heroes have worked closely with design businesses to produce a high profile exhibition and event where citizens and visitors can see, experience and purchase high quality design products during the European Championships.”

— Stuart Patrick, Chief Executive Glasgow Chamber of Commerce GLASGOW CITY COUNCIL “Cities are increasingly developing their own brand identity, grounded in unique qualities, values and underpinned by a sense of authenticity.

In recent years People Make Glasgow has been hugely successful brand, using our greatest asset, our people, to sell the city regionally, nationally and internationally. Made In Glasgow will build on that success and the gathering momentum surrounding events such as Glasgow 2018, our Channel 4 and 5G bids, as well as promotion of our creative sectors. A branding which will be promoted by the recentlyestablished Glasgow Partnership for Economic Growth, it will help project Glasgow within the global market for investment, tourists, and events via our reputation for innovation, research, creativity, learning, culture, sport and talents and attributes of our people.”

FOREWORD 4 ETTORE AND ME — GIULIA FIORISTA

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A MESSAGE FROM THE OFFICE FOR THE DESIGN ECONOMY

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MADE IN GLASGOW

BY LOCAL HEROES — COMMISSIONS

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MADE IN GLASGOW

BY LOCAL HEROES — INVITED EXHIBITORS

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SLOW DESIGN — LAURA SPRING

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NOT RICH ENOUGH TO BUY CHEAPLY — JAMIE BARTLETT

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FOREWORD Stacey Hunter

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This newspaper is the first in a series of Local Heroes publications.

It has been specially produced to accompany the Made in Glasgow

by Local Heroes exhibition and shop.

Local Heroes is a curatorial agency connecting audiences with contemporary Scottish design. Known for being design obsessives, we pioneer new formats for exhibitions and events and develop projects with partners in the cultural and commercial sectors. We don’t have a venue or a gallery – instead we use unconventional and inventive sites and spaces to bring the work of designers and makers to a wider public.

Scotland excels in every design sector. Local Heroes wants to make high-quality design one of our country’s key cultural exports.

International events such as the Berlin / Glasgow 2018 European Championships offer the opportunity to highlight exceptional design and make it highly visible to a diverse audience. Glasgow is where the majority of Scotland’s flourishing independent design community is based, from individuals, through to design agencies, studios and makers.

Our pop-up exhibitions and shops like Made In Glasgow by Local Heroes provide

a dynamic physical environment to present some of the best examples of Glasgow-made design excellence and innovation. Our events offer a unique opportunity for tourists and residents to appreciate and purchase souvenirs that celebrate Glasgow’s contemporary design landscape.

Balancing Act, Slot, Bathers, Sunset at The Cobbler and Transit are the names of some of our special commissions. We think design commissions are a powerful way to explore design culture and give designers the chance to dream and experiment outside of purely commercial confines.

Read the stories behind all 12 products and the people who made them on page 14 with an accompanying section presenting each of our invited exhibitors: Banton Frameworks, Soizig Carey, Instrmnt, Kolor (our guest designers from Berlin), Lynne MacLachlan, Paulin, SÒLAS, and Laura Spring, and enjoy four guest articles written by designers >>>

Our products for Made in Glasgow by Local Heroes include the Glasgow Raincoat by Love and Squalor x Alice Dansey-Wright; the Banana Bumbag from Trakke; powder-coated, pastel coloured jewellery by Cecilia Stamp; a pair of soft oversized blanket scarves by Green Thomas (in exclusive LOCAL and HERO colourways); a trio of cotton neck scarves by Isabella Bunnell, Ruth Mitchell and Mhari McMullan; a series of home sculptures by Gabriella Marcella; Transit Travel Blankets by Jennifer Kent; Emer Tumilty’s limited edition print, Jamboree; Scott Crawford’s cast jesmonite trivet; and Giulia Fiorista’s collection Le Zite which depicts five lovers of the legendary designer Ettore Sottsass.

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Jamie Bartlett, Christy Cole, Giulia Fiorista, and Laura Spring. They each reflect on design through the lenses of provenance; policy; emotion; memory; and slowness.

Project photography throughout this issue is mainly by Christina Kernohan with additional images by Eoin Carey and Francesco Tagliavia and many more reproduced with kind permission from our invited exhibitors.

Part of the wider cultural programme running alongside the 2018 European Championships, we intended Made In Glasgow by Local Heroes to transform a former retail space in the heart of the city into an immersive exhibition environment and a catalyst for audiences to explore design. Building on the success of our 2016 international design exhibition Local Heroes at Edinburgh Airport we’ve put exceptional design back in the spotlight, turning Glasgow’s Merchant City quarter into the best place in Scotland to see contemporary design for a 16 day period.

Our concept for the show hinged on a topical question – how will physical retail evolve and adapt to an e-commerce led world? We challenged ourselves to redefine the experience of shopping for design with a dynamic and ambitious environment,

unconstrained by notions of good taste (and even eschewing shelves). We invited Glasgow artist Steff Norwood to create geological island sculptures which reference Scotland’s diverse landscapes. The sculptures act as plinths for 12 special commissions and a curated selection of over 30 objects – themselves a thrilling combination of precision engineering, craft and design.

By exploring the intersection between online retail and physical design objects through our exhibition, our events and social media channels – (and through this publication) – we endeavour to demonstrate the international reach and relevance of activities and conversations taking place in contemporary Scottish design.

If you like what we do and you’d like to collaborate with us, turn to page 35 to find out more.

— Made In Glasgow by Local Heroes is dedicated to the late Professor Stuart MacDonald OBE who did so much to put design from Glasgow on an international stage and was considered by many to be Scotland’s unofficial minister for design, architecture and creative industries.

This cultural and economic project is produced in partnership with the Glasgow Chamber of Commerce and was made possible with funding from Creative Scotland and Glasgow City Council.

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Sculpture by artist Steff Norwood – designed to act as a plinth for our design objects. Photo: Eoin Carey

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Giulia Fiorista

ETTORE AND ME

Sicilian born, Glasgow based designer Giulia Fiorista was commissioned to produce a set of five silk scarves. Her collection Le Zite (Sicilian for ‘The Girlfriends’) depicts the loves of legendary designer Ettore Sottsass. Here Giulia tells the story behind her commission for us, describing how she read Sottsass’ biography Scritto di notte twice, seven years apart and got to know Fernanda, Bobitza, Lina, Barbara and Geka.

Above: Giulia Fiorista at home in Glasgow, 2018 Middle: Francesco wearing the Lina scarf by the sea, Sicily, 2018 Right: Illustration of Barbara

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I consider myself a very colourful person, or rather other people do. It’s something that feels natural to me. I am usually very self-conscious wearing black – less wearing white I have to say, especially true if the white is denim trousers with big 70s flares. I keep telling everyone that I do it to compensate for the bleak Scottish weather, to brighten things up in the usual greyness of Glasgow, but I know this is only another comfortable excuse.

I have always been very at ease with colours.

Even when the sun was out 253 days a year in Sicily – the average number of days of sunshine in my hometown – I used to wear gaudy teenager looks, running around with my bright blue vespa while leaving a rainbow behind me.

Ettore Sottsass was also a very good colour matcher. I read his autobiography ‘Scritto di notte’ (Written at Night) for the first time in 2011, when he had already been dead for four years. I was 20, studying as fast as I could to finish my last year of my product design degree in Milan. I picked his name randomly, from the long reading list. I would read him late at night, while eating yogurt and dry fruit to stay awake and study a little bit more. Since I kind-of-met him at the time, the colours I was drawing, painting, or putting together from my wardrobe, assumed totally new meanings and possibilities.

At the end of the year I wrote an essay about his book, compared to another designer’s autobiography: Enzo Mari’s ‘25 Ways to Drive a Nail’. Enzo was a modernist. He wasn’t from a rich family but still, he had always had a clear idea of who he was going to be – pretty enviable indeed. Instead, Ettore was a post-modernist, writing about his life as a sequence of overlapping memories. Signora Fortuna (Mrs Luck) would at times hold his hand, eventually making sense of all these events and bringing them together into one whole storyline: Ettore’s own (work of) life.

These contrasting outlooks on life are clear in the work of both designers, Enzo’s rationalist and functional designs versus Ettore’s expressive and provocative approach. His quirky objects and

extravagant colour-pattern combinations were a controversial, rather interesting, way of expressing fundamentally one feeling: sorrow. Sorrow for the war he just fought (the Second World War) and the final dissolution of all the positivism that his rationalist heroes brought to architecture and in the rest of art and philosophy.

I had never thought colours could represent something other than joy. I never thought of colours as ironic, a tool to dazzle and to use to move on from the past. Ettore wasn’t the first to do that in history, but still he was the first who taught me that it was possible.

Last year on the 14th of September 2017, what would have been Ettore Sottsass’ 100th birthday, it was a sunny weekend in London – my home at the time. I was sitting on my bed, flicking through my Instagram feed, when I suddenly realised that I was missing Ettore’s birthday celebration at La Triennale di Milano. ‘There is a Planet’ was a huge solo exhibition dedicated to his life’s work.

Everybody was there, my old classmates from my time at University in Milan, even

the tutors were all going, one after the other over that weekend. And I was ‘stuck’ in my bedroom in the wrong city. I then remembered that I took ‘Scritto di notte’ with me after my last summer holiday at my family home. I couldn’t have imagined a better way to spend Ettore’s birthday.

Me and the book, this time no yogurt and dry fruit, but maybe some gin.

A few times Mrs Luck brought Ettore to what he calls ‘state zero’, a state of denied comforts and minimal needs, but also full of opportunities for enrichment and growth.

A time to start from scratch, to use life as if it’s the first time. He had felt that excitement when he moved to the USA, living in a scruffy hotel in Broadway, New York City.

In fact, moving city often gives that rare opportunity to start from zero. Last year on the 14th of September, I had just moved to London myself. There in my bedroom with my temporary cat Kingston, I was in the middle of a state zero. One that brought me to re-think of Ettore, 7 years after we kind-ofmet for the first time, in a place that wasn’t mine, with a cat that wasn’t mine, living a life in hip East London that was barely mine too.

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I started reading Ettore’s memories of sweet food, jams and juicy apricots in jars and suddenly I found myself drawing all about it.

Bobitza was the first of his girlfriends I drew.

She used to cook pasta with breadcrumbs and sugar for him. They met because of the war, in a town in the Alps, near the battle station where Ettore was assigned as a soldier. They would meet at night in a bar, and then go back to hers. Or he would slip through the cabbage garden and surprise Bobitza in her room. She was older than him, at the time he was just a skinny tall boy with eyes already full of melancholy.

They learned to need each other, through company and food, until Ettore left her to continue his life which was always going to be far away from there. I could see Bobitza in the dark of a bar made of wood, smoking, smiling, maybe crying all at once. I tried to capture this image of her black thick hair and smoky eyes in a dark interior. I drew this in pencil colours, two, three, six times I think.

And then I converted it digitally. It was my first drawing on a graphic tablet since I was studying, seven years before. I felt so close to her by then, so jealous, and so sorry for her, all at once. I felt similar things for all the other girlfriends who came after.

I began to draw them one after the other: Lina lying on a rock while watching the sunset through the fog in Trentino; Barbara while having fish soup on a boat drifting in the river Chao Phraya in Thailand; Fernanda, who used to read out loud and play the piano at her family home in Turin; and Geka making beautiful rugs and pillows in her tiny wooden house in Montenegro.

The book was not yet finished when gentle Mrs Luck held my hand this time, returning me to Glasgow. Once back in my second homeland Scotland, a chance text message to my friend Stacey presented an opportunity to turn the five portraits into a special product. For some time I had wanted to explore working with fabrics and this was the perfect occasion. Glossy silk scarves seemed the most fitting way, showing fleeting glimpses of Ettore’s multicoloured lovers, which I called ‘Le Zite’, Sicilian for ‘The Girlfriends’.

Meanwhile, I continued reading the book and folding the corners of the pages.

Bottom-corner folds whenever I encountered a new lover, top-corner folds if there was a paragraph I enjoyed. I kept drawing new girlfriends as I was reading, taking over five months to finish the book through this process. I would also keep unfolding old marks I had made while reading seven years before, unless I found the pages still somewhat relevant, like the time Ettore writes about the colour(s) black, in a world exclusive, in English, here for you: ‘Once in Tokyo, I asked my dear and wise friend Shiro Kuramata if he knew of any shops where I could buy some Japanese ink, the type people use to do calligraphy, and he gave me an address. It was a very small, old shop, with the walls completely covered by little wooden drawers, darkened by age.

The man at the counter was also very old, smiling at me. I said in my bad English, that I wanted to buy some black ink. A long pause of silence came from the old man. ‘What type of black?’ was his answer eventually. I felt like such a fool. How could I be so ignorant?

How could I have been learning so little from all my masters, from the books I read, from all the exhibitions I saw, from all the friends I talked to, from all the places I visited, to think that there was ‘only one black’? The old Japanese man gathered, in one straight question, everything my teachers explained to me with long conversations full of words, words that I kind of understood but not really, not enough. The question from that smiling elderly face of the Japanese man, who lived in a world of thousands of types of black, left no space: ‘there is no black’, only countless blacks. What black are we talking about? Do we want to talk about the colour(s) black?’

As a matter of fact, my own art teacher in high school would tell us that to draw the colour black properly, we would need to add all the colours of the spectrum on top of each other, layering them until they reached the desired tone. Although I carried out the task, at the time I also didn’t really understand the fact: there is no black. Today, I am still not completely ready to embrace wearing black, but whenever I go back to Ettore, he always helps me understand a little more. lezite.com

Left: Bobitza scarf, photo: Francesco Tagliavia Right: Claudia holding Fernanda

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A message from the Office For The Design Economy (design: Christy Cole)

MADE IN GLASGOW BY LOCAL HEROES

COMMISSIONS

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Our twelve special commissions for Made in Glasgow by Local Heroes celebrate the European Championships with designs that are emblematic of Glasgow’s creative energy, vitality and ability in design. We supported designers to develop new work, often outside of the confines of their commercial practice. By underwriting the cost of materials, production or design time, playful and experimental approaches to new products which celebrate design and innovation were encouraged.

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Photos: Christina Kernohan

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The Glasgow Raincoat — Love & Squalor x Alice Dansey-Wright

Transit Travel Blanket — Jennifer Kent

Rebecca Coyle is a designer, maker and the founder of

Jennifer Kent’s Transit Travel Blanket is designed to be used

Love & Squalor. Alice Dansey-Wright is an illustrator who

on the move and to keep warm on flights or long drives.

paints murals, designs products and delivers workshops.

The pattern derives from a historical knitting pattern which

Themes in her work include accessibility, body positivity

Jennifer has reinterpreted into a modern graphic design –

and DIY culture. Together they have created the Glasgow

confident in its simplicity and imbuing a sense of movement

Raincoat. It is illustrated with distinctive hand-drawn weather

with its track-like repeat. The blanket has been designed in

motifs by Alice, while the coat’s shape and cut have been

Jennifer’s studio in Glasgow and manufactured using 100%

carefully designed by Rebecca. Together, the two designers

Super Geelong Lambswool in Shetland.

selected fabric, decided on detailing and produced a prototype.

The Jennifer Kent studio specialises in creating modern knitwear, accessories and interior products. The collections

“The print of the raincoat is inspired by both Glasgow’s

are thoughtfully curated and reflect Jennifer’s minimal aesthetic

architecture and weather. Looking up at the buildings in

and impeccable attention to detail. All production takes place

and around the city centre and beyond, there exists many

in Scotland and Jennifer works only with well-respected

meteorological references: suns, moons, ships, seasons

and highly skilled manufacturers. Products are knitted and

– and a Glasgow raincoat would not be complete without

hand-finished to the highest of standards using the most

a celebration of our beautiful but wet city!” The raincoat is

luxurious natural fibres and time-honoured manufacturing

one-size and unisex. “We’d like the owner to feel that they

techniques. The brand values the skills and experience which

possess a unique Glasgow design item – inspired by the city

can still be found in Scottish mills and enjoys working with

itself and designed and manufactured locally. The raincoat

those who instinctively understand the nature of luxury knitwear

will only be available as a limited edition item so it’s

production and the care and attention which this demands.

rather special.”

Last year she opened her own shop in the West End

Instagram: @love_and_squalor427 | @alicedanseyw

of Glasgow.

Instagram: @jenniferkentstudio

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Banana Bumbag — Trakke

Bathers Cotton Scarf — Isabella Bunnell

Trakke designed a new interpretation of their Banana Bumbag

Isabella Bunnell is one of a trio of textile designers invited to

in a special Salt & Pepper fabric made using stinging nettles

design a special print. Her illustrations mix body-politics and bright

that was first pioneered by the Swiss Army. “It’s a beautiful fabric

colours with a sense of humour. Her design features a group of

but it represents something more. It’s iconic; a feat of wartime

bathers enjoying a summer day. “I love using bright colours and

innovation and a design classic which blends function, style

including humorous details in my work. Swimming is one of my

and weather-resistance with sustainability.” The twisted yarn

favourite things to do, especially in the sea. I wanted this design

used creates a mottled, almost camouflaged effect – perfect

to reflect the serenity you feel after bobbing around the waves

for a product that’s smaller than a bag, but bigger than your

and drying on a Scottish beach.” Isabella’s line-drawings of ladies

pockets. Stow away your toolkit or hiking rations in the main

lounging on rocks or strolling along the beach are crisply printed

compartment, and hide away your valuables in the concealed

on a soft peach background punctuated with blue and mustard

compartment on the back – perfect for a passport when you

yellow. A perfect souvenir of Glasgow design and a practical

are on your travels.

and fun accessory.

Trakke was born from a love affair with Scotland. Inspired by

Isabella Bunnell is an illustrator and surface pattern designer

the verdant landscape, the history, the culture and the wildlife.

living and working in Glasgow. Her favourite things are drawing,

Trakke craft waxed canvas bags that are versatile, durable and

swimming in the sea and eating different types of bread.

timeless, combining utility and style to allow you to transition

Her clients include: Penguin/Random House, Mini Boden,

from workday to weekend with ease. Their products are made

British Journal of photography, Osso Magazine, Anatomy brands,

in Scotland, using high quality British materials. Each bag is

Anorak Magazine, Cicada Books and Thames and Hudson.

handmade by the team of artisans and built to last a lifetime.

Her work has been featured on It’s Nice That, Graphik,

“So you can focus on what lies ahead; not what’s on your back.”

Creative Review, AOI, and Osso Magazine.

Instagram: @trakkebags

Instagram: @isabellabunnell

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Photos: Christina Kernohan

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Photos: Christina Kernohan

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Sunset at the Cobbler Scarf — Ruth Mitchell

Balancing Act — Gabriella Marcella

Ruth Mitchell is one of a trio of textile designers invited to design

Gabriella Marcella has created Balancing Act – a limited edition

a special print. Ruth’s Sunset at the Cobbler scarf depicts the

series of home sculptures. Stemming from her desire to work

Scottish mountain Ben Arthur – better known as ‘The Cobbler’

with new materials, she began by experimenting with salvaged

– located near the head of Loch Long. “Since I love the outdoors,

wood in the workshop of the Jan Van Eyck Academie. Process

I like to use elements of Scotland’s nature in my design work but

and learning were key aspects in the origination of the works,

then add my own strange twist. The shapes in the middle are the

so Gabriella felt it important to share some of this experience

outline of The Cobbler, but I’ve used my own colours to make the

through a set of assembly instructions. She hopes to trigger the

landscape look more surreal.” Her bold palette of coral, crimson

“simple yet gratifying act of making”. The method for assembly

and bright blues are rendered in soft gradients, creating an image

is simple; after threading wooden parts along a wire, use your

evocative of a sunset seen through a slight haze of heat and dust.

intuition to find the precise balancing point. The satisfying result can be displayed throughout the home.

Ruth Mitchell is a textile designer who has worked for fashion brands Kitty Joseph, Zandra Rhodes, Limedrop and Gorman as a print designer. She now specialises in freelance fashion print design for a wide variety of brands internationally, in addition to special projects, collaborations and design commissions within fashion, interiors, product design, and large scale art installations.

She also co-owns SÒLAS with Ciorstaidh Monk. Her work often involves imagery that attempts to tell a story using carefully chosen colours, drawing inspiration from music and her photography.

Instagram: @ruthesmemitchell

Gabriella Marcella is a designer and the founder of RISOTTO; a risograph print studio and stationery company based in Glasgow. Bold colour, and playful patterns are at the root of all works; with projects ranging from product collaborations, to exhibition design, as well as public and private art commissions. She has exhibited internationally and has most notably designed for brands such as Urban Outfitters, Stussy, Dr Martens, Puma, Liberty London & Bloomberg. She is currently based at the Jan Van Eyck Academie; a post-academic institute for research and production in fine art, design and art theory.

Instagram: @risottostudio

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Conjoined Trivet in Blue Jesmonite — Scott Crawford

sgrafitto Cotton Scarf — Mhari McMullan

Scott Crawford draws his inspiration from Scottish architecture,

Mhari McMullan is one of a trio of textile designers invited

Scandinavian minimalist interior design and the principles of

to design a special print. Mhari’s design brings together a

Brutalism. An interior and product designer, Scott has designed

series of handmade marks, symbols and sketches to create

a trivet made using poured jesmonite – tinted to his own

a tableau of negative and positive / black and white. The title

specifications – which features repeating circular forms and

sgrafitto refers to a form of decoration made by scratching

soft sculpted edges. The functional piece may also be used

through a surface to reveal a lower layer, typically done in

as a stylish plant stand or ornament.

plaster or in slip on ceramics before firing. “I really like to

Based at Many Studios in Glasgow, Scott Crawford aims for his work to “negate a messy aesthetic many products create.

Minimalist forms that are effortless for the brain to digest in an interior space will be found infinitely more valuable than those which become outdated.” Scott’s designs employ a combination of methods to achieve a desired result, mixing digital processes alongside traditional craft techniques, and transferring this

work in a way that uses the same techniques but different materials – the pattern for this scarf was developed from designs on tiles I made during a residency working with ceramics at the Scottish Sculpture Workshop, hence the name sgraffito.” Like our other cotton scarves, Mhari’s design is printed on cotton voile by the team at The Glasgow School of Art’s Centre For Advanced Textiles (CAT).

information into the third dimension using his knowledge of

Mhari McMullan is a textile designer, curator and consultant.

material processes in ceramics, wood, cork, resins and metals.

She works across exhibitions, retail and education in craft

Instagram: @scttcrawford

and design. Mhari graduated from Central St Martins in 2003 and relocated to Glasgow in 2007. She opened Welcome Home in 2009, is co-curator of Early Learning and is also a founding director of Collect Scotland. All her work stems from a preoccupation with pattern.

Instagram: @mhari_mcmullan

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Photos: Christina Kernohan

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Photos: Christina Kernohan

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Blanket Scarves — Green Thomas

Slot Lapel Pins and Earrings — Cecilia Stamp

Green Thomas responded to two specially created palettes which were translated into one of their signature knits using bold blocks of colour mixed with micro patterns. The LOCAL scarf combines khaki, red, pink, blue and grey while HERO combines an electric range of summer blues, flame orange and mustard.

“The Local Heroes commission allowed us to explore our love of colour. We wanted the two new colourways to have a unique mix of contemporary shades that combine to create something new and fresh.” Working with their trusted factory in the Scottish Borders, the duo have created a large, luxury size scarf, large enough to wrap around and around, travel with, or drape over your favourite chair.

Cecilia Stamp’s candy coloured ‘Slot’ lapel pins and earrings

Green Thomas are design duo Emma Green and Alan Thomas Dibble. Graduates of the prestigious Central Saint Martins in London, both have worked with global brands and retailers designing knitwear. From their studio in Glasgow, Green Thomas launched in 2015 designing contemporary knitwear and accessories. All are made in Scotland which is world renowned for the quality of its products. Their range is stocked in premium department stores and exclusive boutiques in the UK, Europe, Japan and the USA. Instagram: @greenthomasaccessories

take their inspiration from Glasgow’s subway system. Cecilia utilised the industrial technique of powder-coating to bring her nuanced flair for colour to the pieces and to reflect the aesthetics of industry and transport at the heart of her commission.

The jewellery is made using brass and steel, and wearers can combine three complementary colourways of yellow, pink and blue. “Consisting of only a circular line, the Subway network faithfully serves Glaswegians and tourists alike and is a part of everyday life. I wanted to use the language of industry to create a wearable accessible jewellery collection that acts as a souvenir of the city.”

Inspired by abstract forms from machinery, architecture, packaging and the man-made, Cecilia Stamp creates graphic, contemporary jewellery. With an eye for colour and shape, she uses various materials including enamel, resin and precious metals to make each piece in her studio in Glasgow. As well as her ready-to-wear range, Cecilia takes commissions ranging from custom colourways to wedding bands and engagement rings. As well as jewellery design, Cecilia is a freelance textile and print designer.

Instagram: @ceciliastampjewellery

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Jamboree — Emer Tumilty Emer Tumilty’s limited edition print (run of 500) features joyful arcs that join up with imaginary cityscapes which are in turn intercepted by charismatic tubular shapes and scalloped edges.

Together they combine to create a sense of movement and excitement. Her illustration is printed on Zen paper from G . F Smith using Pantone Neon inks. “The Local Heroes commission was a great opportunity to translate the geometric forms and bold colour combinations from my mural work into print. I wanted the design to feel vibrant, playful and contemporary, to reflect the work of the designers taking part in the exhibition.”

Emer Tumilty is an artist and illustrator based in Glasgow. With a background in architecture and visual communication, she works across set design, murals, illustration and printmaking.

Her work draws inspiration from the built environment, the playfulness of Postmodern design and the mathematical compositions of Russian Constructivism. She uses bold colour combinations and simple geometric forms, working across a wide range of projects from illustration and printmaking to murals, installation and set design. Her previous clients include Urban Outfitters, Atlantic Records, Berwick Film and Media Arts Festival, Radiophrenia, and Glasgow City Council. @emertumilty

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Photos: Francesco Tagliavia

Le Zite Silk Scarves — Giulia Fiorista

For Giulia aka Lia Fiore, a philosophical fascination,

Giulia Fiorista has brought her trademark maximalism

explained that the chairs we were sitting on were

and imagination to Le Zite (Sicilian for ‘The Girlfriends’)

copies of the ‘Standard Chair’ by Jean Prouvé. The idea

– a collection of 5 illustrations depicting the loves of

that somebody spent time creating that chair, before

legendary Italian designer Ettore Sottsass (1917–2007).

somebody else copied and mass produced it, so that I

Each drawing tenderly imagines how Barbara, Bobitza,

could ultimately sit on it and stick my chewing gum under

Fernanda, Geka and Lina may have looked during the

the seat was a surprise.” She has worked as a product

time period of their love affairs with Sottsass, and is

designer in Milan: a design researcher and designer at

vividly translated into a soft, lightweight silk square.

the Glasgow School of Art; opened her own quirky design

Elegant and enigmatic, the Le Zite collection is a

studio SLAPS: worked in London as an illustrator, and is

dreamlike homage to a design hero.

now a digital product designer at a start-up in Glasgow.

rather than a technical one, defined her entry into the design world. “I was in high school when the art teacher

Instagram: @liafiore

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MADE IN GLASGOW BY LOCAL HEROES

INVITED EXHIBITORS

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Banton Frameworks

Soizig Carey

Designed and manufactured in-house, in Glasgow,

Soizig Carey creates what might be termed

Banton Frameworks Profile Sunglasses are precision

modern-mystical artefacts using silver and gold.

machined from premium Italian acetate and

Estética explores geometric formulas, rotating

rotationally polished for a high quality satin matte

movements and, principally, the circle arriving

finish. They feature hypoallergenic unipiece temples/

at the pendulous earrings and spinning rings in

arms that are fixed in place using stainless steel

this collection. Soizig’s Madame earrings are the

rivets with five barrel hinges. Banton Frameworks have designed and built their own manufacturing methods to produce the finest eyewear that is “subtly distinctive, not attention grabbing, but it catches your eye.”

Paulin Paulin’s MoMA Exclusive Geo Mini features bespoke numerals on the dial inspired by Art Deco typefaces, expressed with perfect circles, straight lines and gaps, and uses typography specially designed by

culmination of her collaboration with designer, Gabriella Marcella of RISOTTO. Soizig describes her work as drawing heavily from publications by artist, designer and inventor, Bruno Munari. ‘The circle is related to the divine: a simple circle has, since ancient times, represented eternity, since it

The UK eyewear industry once produced over five

Imogen Ayres. Its compact size is suited to people

million spectacle frames a year from an industry of

with smaller wrists, or fans of discreetly sized

a thousand factories. Now, only a handful remain.

timepieces. The Geo Mini has a Quartz Miyota

Banton Frameworks are helping to change this.

movement, flat sapphire-coated glass and stainless

Founders Lucy Ross and Jamie Bartlett were inspired

steel case. Soft Italian leather straps come in a

by the UK’s manufacturing past, which was renowned

variety of vibrant colour combinations including

Soizig Carey is a designer and maker based in

for producing high quality goods that could last

Lavender, Orange and Cobalt.

Glasgow, specialising in contemporary handmade

a lifetime. The company’s approach to design is focused on functional, well considered, understated aesthetics. The UK’s industrious heritage inspired Lucy and Jamie to create their own production in Glasgow, redressing the balance between what is designed here and what is made here. That’s why they created their own processes and honed skills that can be passed on, building a legacy for the future.

Instagram: @bantonframeworks

Paulin watches are designed in-house by sisters Eleanor, Elizabeth and Charlotte Paulin. This British watch company specialising in high quality, design-led watches began production in late 2014, after two years of development. Paulin sources material and components from all over the world, with a focus on supporting British manufacturers and using environmentally sustainable practises.

The Paulin sisters were inspired by their great grandfather, George Henry Paulin, a distinguished

has no beginning and no end.’ (Bruno Munari) and by mathematician and philosopher, Matila Ghyka.

“They each explore geometry in art and nature and create visual case studies of shapes.”

jewellery and objects. Soizig’s collections are influenced by architecture, graphics and narratives, integrating traditional and modern craft techniques. Soizig creates precious metal forms which can be worn or serve as meaningful and playful objects. She is committed to ethical and sustainable sourcing and uses fairly mined or recycled gemstones and precious metals wherever possible.

Instagram: @soizigcarey

sculptor who worked throughout both World Wars across London and Glasgow. Paulin’s workshop is situated in Glasgow’s West End, a creative space that acts as an office, shop, studio and leather workshop.

The space offers a bespoke service for leather straps, instantly providing you with a personal touch to your watch.

Instagram: @paulin_watches

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SÒLAS SÒLAS create sleepwear combining contemporary shapes and custom prints using high-quality fabrics.

Their trio of silk sleepmasks with hand ruched bands feature the prints Teal Buttercup, Machair and Rhododendron. Drawing inspiration from the natural environment of Scotland and nostalgic childhood

Instrmnt Founded by Pete Sunderland and Ross Baynham in 2014, the Instrmnt studio launched with one simple product: Instrmnt 01, a minimalist steel watch which takes inspiration from the industrial design of the mid-20th century. The layout of Instrmnt 01 – unassembled with tools provided for the customer to build their own watch – has quickly become an

memories, the brand has a focus on minimal design, comfort and modern luxury. A collaboration between Ruth Mitchell and Ciorstaidh Monk, SÒLAS merges their complementary aesthetics, skills in fashion design, print and photography, and is a design identity that encourages an inclusive, holistic, comforting experience for the wearer with an emphasis on quality and attention to fine detail.

Laura Spring Laura Spring’s new ‘Peas’ and ‘Milkky’ prints are part of the designer’s ‘The Good Life’ collection and are inspired by her recent research trip to Finland.

Applied to her make-up pouches, the prints combine bold shapes and eye-popping colours. Her cheerful, modern pouches offer just that little bit of extra room making them an ideal choice for make-up

iconic part of the brand, and the watch has earned

Ruth Mitchell is a print designer, photographer and

lovers. Laura, originally from Staffordshire, is a textile

acclaim from the likes of The New York Times,

visual artist with a special interest in fashion, music

designer/maker living and working in Glasgow

Dezeen, Wallpaper, High Snobiety, and The Sunday

and interiors. Having worked as a freelance print

creating bold graphic designs that are transformed

Times amongst others. Also being exhibited is a

designer since 2011, Ruth’s work is shown regularly

through screen and digital print into fashion

more recent iteration: the K-31 features a brushed

at international trade shows Première Vision and

accessories, homeware and stationery.

silver casing and light grey vegan rubber strap

Indigo in Paris.

manufactured in Italy.

Always preferring to ‘make’, Laura began working

Ciorstaidh Monk is an artist, fashion designer and

in various costume departments within the theatre

Instrmnt is a Glasgow-based, multi-disciplinary

photographer based in Glasgow. A graduate in

and film industry after graduating from the Glasgow

design studio focused on creating industrial-led

Intermedia from Edinburgh College of Art and

School of Art. However in late 2011 after a summer

products with an emphasis on quality, simplicity

Fashion Design and Manufacture from Cardonald

craft residency at Cove Park, Laura established her

and attainability above all else. Baynham and

College. Her work spans capsule collections,

own eponymous label and print studio in the heart of

Sunderland hold a keen interest in the functional,

music videos and publications as well as

Glasgow. Bold, graphic prints combined with bright

utilitarian products and tools produced during

business development in her role as Producer

colours transformed into beautifully crafted products

that time period: from the simple, readable

of Glasgow-based ‘Fashion Foundry’.

are at the core of Laura Spring’s design practice.

dials of analog ammeters and voltmeters to the revolutionary minimalism of Dieter Rams.

Instagram: @solas.sleepwear

With a passion for colour, print, pattern and process, Laura creates covetable annual collections of

Instrmnt’s work has been recognised and exhibited

functional yet vibrant homewares and accessories

by the V&A, London Design Festival, Paris and New

as well as regularly collaborating with others.

York Fashion Week, and as part of Scotland’s Year of Innovation, Architecture and Design with Local Heroes at Edinburgh Airport.

Instagram: @instrmntlimited

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Instagram: @lauraspringstudio

Lynne MacLachlan Lynne MacLachlan’s Gego Sphere Ring, Statement Bangle and Helio Fan Earrings are constructed using 3D printed nylon mesh which is then hand dyed.

The material is light, yet strong and slightly flexible with a matt finish and creates Moiré patterns as the wearer moves around. It’s bold and sculptural, yet easy to wear and available in a range of electric colour palettes.

Kolor (Berlin) The Kolor candle holder and discs are similar to stack

Lynne is a designer, maker and researcher whose

and pile children toys – but for adults to mix and

work is characterised by her innovative processes.

match to make their own personal favourite creations.

Her Glasgow studio tests the limits of materials

Kolor are our specially invited guests from Berlin

and techniques to produce lightweight structures

– co-host city of the European Championships.

designed for the body. She is best known for

The product design studio run by Tatjana and Uli

combining 3D printing with meticulous hand finishing

holds values that are close to our own at Local

techniques, such as dying and polishing. “My designs

Heroes, embracing diversity and variety in design.

play with light, space and colour, to create visual

We are delighted that their candle holder set is part of

delight for both the wearer and the viewer.” Lynne’s

the exhibition. Each set is manufactured in Germany

work has been recognised with awards from the

and made of powder coated steel and aluminium.

Goldsmiths Craft and Design Council, the Scottish International Education Trust, a Dewar Arts Award to fund her studies at the Royal College of Art and a bursary from the Inches Carr Trust. She has exhibited widely in the UK, Europe and America with Craft Scotland, the Crafts Council, the V&A, the National Centre for Craft and Design and the London Design Festival.

Instagram: @lynnemaclachlanstudio

Kolor is a product and interior design studio who create products that are functional, simple and durable, preferably organic, always produced in Germany and where possible within their local region.

“We chose the name kolor because it means diversity and variety, two words that also best describe our work. Kolor can be anything: every colour, every thing. we felt drawn to work in a field of variety, big or small.

We like it colourful and also a bit playful, it has to be always minimalistic and functional. Most of our ideas focus on optimizing products that already exist; things we like and need but which require improvement in form or function.”

Instagram: @kolorstudio

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Laura Spring

SLOW DESIGN

Glasgow based textile and product designer Laura Spring reflects on the importance of taking time; ‘slow design’ and her three year research project Täkänä which culminates this summer with an exhibition at Helsinki Design Week (6–16 September 2018) — helsinkidesignweek.com With this article, I wanted to explore not just the physical making part of the design process, but the entire process of slow design from the initial seed of an idea right through to the final result. It seems very appropriate to be writing about slow design whilst spending a week in the Swedish countryside, learning the art of tapestry weaving. Weaving by hand is a slow process and of course I had expected it to be slower than printing (my main method of producing textiles), but I have found it completely absorbing and so intriguing to be focused on such a tiny piece of cloth measuring just 4cm, that has taken me around 4 hours to weave.

Above: Täkänä Catalogue, photo by Laura Spring Right: Täkänä lesson in Hankalsalmi, 2017, photo by Laura Spring Täkänä is Finnish for double cloth or double weave and is a kind of woven textile in which two or more sets of warps and one or more sets of weft or filling yarns are interconnected to form a two-layered cloth. The movement of threads between the layers allows complex patterns and surface textures to be created.

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Compared to screen-printing – this is slow. Screen printing requires a similarly labour-intensive set-up process where the preparation is absolutely key to achieving successful results, however it’s not as long as the two days which some looms require.

With screen printing, once you start the physical act of printing, the process moves quickly, and it’s possible to produce many metres in a day. The process still requires time, focus and patience (like my 4cm of weaving) but you are able to see the pattern of the fabric appearing in front of you at a much faster rate.

The world is changing so quickly, driven by a digital revolution which is affecting every aspect of our daily lives. The creation of apps have revolutionised the way small businesses can operate for the better, but the speed of change also comes with associated drawbacks. We seem to live increasingly in a world of ‘new’ and ‘now’. We can post anything at anytime to excite our followers, customers and industry but how important is it to stop and take a breath?

We’re all feeding the appetite that’s risen up so fast for ‘the next new thing’. It’s been well written about, this idea of slowing down in all aspects of our lives but I operate in an industry that still wants new things traditionally twice a year if not more.

So I’ve been trying to address this as part of my practice by developing a project that’s taken years, not weeks, to come together and is still not resolved. That’s one of the reasons I love it so much. It’s not time-precious, although funding and residencies have put deadlines upon certain stages which has certainly been very useful. The project overall has now taken three years to reach where it’s at.

With this in mind, I thought it might be useful in this fast-paced world to add some context to the work I’ve been doing by illustrating how this project has evolved slowly due to time, finance, research required, travel and of course some ‘failures’ along the way.

Here’s an overview of how the project has evolved: —2014 September: Applied to Arteles, Finland for summer residency (in 2016).

—2015 August: One month residency at Arteles where I first discovered Täkänä catalogues at a local flea market near Hämeenkyrö.

I purchased the catalogues and brought them back to my studio in Scotland where I began researching more about this ancient Finnish weaving technique and its history.

May: Five months after Arteles residency, Creative Scotland Open Project Fund Application submitted.

July: Rejected for Creative Scotland funding.

—2016 August: Ten day self-funded solo research trip to Hankasalmi, Helsinki and Tampere to begin research.

December: Resubmitted Creative Scotland application for funding.

—2017 January: Creative Scotland funding successful.

March: Ten day funded research trip around Finland learning about Täkänä, visiting archives, speaking to experts and getting a lesson in Täkänä weaving.

April–August: Developed new work from Täkänä research.

September: Exhibited new collection at Helsinki Design Week and London Design Week including a collab with Milja, a Finnish Täkänä weaver.

—2018 March: Applied to the British Council/ HIAP’s open call for a design residency in Helsinki under the theme ‘arranging practice: proximity, distance, instance’.

May: Part 1 of the HIPA/British Council Helsinki Design Residency.

August–September: Returning to Helsinki for part two of the HIAP /British Council design residency. A series of events and an exhibition will be held during Helsinki Design Week presenting the ideas developed.

The project has developed through an initial visit to Finland where the seed of the idea was planted, resulting in developing relationships and ideas which have been able to steadily grow and build. These are things that couldn’t have been planned, with sometimes the most surprising things resulting from unexpected conversations that I could never have predicted at the planning stage.

I believe that it is important to spend time with people and/or a place to really know and build something. Working in Finland, I’ve been incredibly lucky to have been able to follow my instincts on this idea and

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develop it further. I have been pleased with the outcomes already achieved during the course of the project, and I am excited to be able to develop these ideas further.

Perhaps slow design is something we could all think about and give ourselves permission to consider in more depth?

Of course we all need to make a living to pay the bills and all the other stuff of life, but if as a designer, there’s a part of your practice where you can allow yourself some time to take your foot off the gas for a moment, and really get underneath an idea to allow it some time and space to breathe, then I believe the rewards could be incredible.

The results could not only be rewarding for you and your design practice but could also contribute positively to the evolution of the industry in which we work.

There’s nothing wrong with taking your time, I think it’s the best race to be in. lauraspring.co.uk

Top: Täkänä Wallhanging ‘Forest’ by Milja Nikamaan & Laura Spring, Forest & Solstice Cushions, Milkky Fabric by the Metre, 2017, photo by Caro Weiss Middle: ‘Sanianen’ Täkänä drawing, 1958, photo by Laura Spring Bottom: ‘Peas’ reversible screen-printed wallhanging, 2017, photo by Caro Weiss

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COLLABORATE WITH US Scotland is becoming increasingly renowned for its contribution to international design, and while tradition and heritage remain a focal point in the popular imagination – our country’s diversity, pluralism and connectedness to global networks are influencing a whole generation of designers.

Local Heroes puts design from Scotland on an international stage, presenting and promoting Scottish products and industries to the public, with a focus on high quality design. Through exhibitions and events we provide unique opportunities for people to appreciate Scotland’s contemporary design landscape.

Through commissions, we support designers to develop exciting new work. And by underwriting the cost of materials, production or design time, we encourage playful and experimental approaches to new products which celebrate Scottish design and innovation.

Local Heroes pioneers cross-sector partnerships uniting expertise in design, culture, cities, creativity, enterprise, entrepreneurship, travel and tourism. We enjoy working together with like-minded organisations and people to present Scottish design talent to the world.

Here in Scotland, our regular column on contemporary design for The Skinny gives designers a much-needed voice and acts as an ongoing, live research project.

This integrated relationship with Scotland’s design community makes us participant programmers who can facilitate the realisation of new and exciting work. Local Heroes has become a platform where businesses and organisations who are excited about design, and who understand its value, can collaborate.

Designers tell us they want opportunities to expand their practice, collaborate and present their work to international audiences. So, we’re initiating big, ambitious, cross-sectoral projects. Together, with the design community, we can promote design in unconventional ways with exciting models of presentation, production and partnerships.

Nations who invest in their design culture provide the intellectual space for designers to test new ideas enriching their economy and built environment and solving problems in society. And while a national programme could promote Scottish design as a cultural export, international competitiveness is not the only outcome; modern design in Scotland is increasingly defined by our ability to collaborate, co-produce and create strategic alliances. There has never been a better time to invest in design culture – we can’t wait to see what the future brings.

stacey@localheroes.design

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“I’m not rich enough to buy cheaply” is a phrase recently overheard by Jamie Bartlett, prompting the designer to examine a family trait that admires longevity and hates waste.

Only last month I was cursing at my Dad for sharing what I can only assume is hereditary pragmatism. It was Father’s Day and no earthly gift would suffice. Not because he’s fussy; more he despises things he doesn’t need. Things that aren’t “decent”.

It’s an inherent trait I’m uncertain to be glad of. When it comes to buying or indeed, receiving gifts. I’m equally as difficult.

Just like him, long before I became a designer, I too consider quality to consist of longevity, functionality and enduring performance. Most enjoyably, I consider quality to be repairable. Nothing pleases me more than to defy my local skip.

Dad would be proud.

A strange but personal introduction perhaps, but recently I heard a new saying that immediately encapsulated my recent Father’s Day gift trauma. An idiom I’d never heard before that strongly reminded me of my Dad and funnily, his Dad before him.

A new saying that reminded me of old times.

“I’m not rich enough to buy cheaply.”

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For the reader, I can only hope that gift buying is more straightforward. Perhaps in other cultures or indeed families, a task like this would be far less strenuous. Only six weeks prior, I was sitting at my laptop praying that this year’s gift met Dad’s standards. Maybe this was going to be the year my findings wouldn’t be returned to the shop.

Jamie Bartlett

NOT RICH ENOUGH TO BUY CHEAPLY

Navigating the online ocean of goods, my attempt at gift shopping was predictably woeful. Distanced through my digital screen, I was reminded that determining product quality from afar is more commonly a post purchase reflection than a well written product description. How was I to detect something that was, in my father’s words, “decent”?

Via ceaseless dogma, brands reported or indeed imposed the notion that their version of anything was of good quality.

The more I read it, the more I wondered – where do other people draw the line between what is good and what isn’t?

With every tab I opened, I could hear his frugal murmurings “you buy cheap, you but twice son”. Into the night, I continued my Google search.

When everything is reported to be of high quality, when everything is geared as ‘good’, I find myself on high-alert. Monitoring cost and quality, this filtration is the result of an iron-clad approach to buying; my dad’s approach. It’s the same one that I can feel steering me away from buying cheaper things more often. Things that eventually fail or break that would never meet his standards.

On a lighter note, I did eventually find a gift.

On a heavier note, I can’t help but mention recent and topical documentaries: The BBC’s ‘Blue Planet II’ and climate documentary ‘An Inconvenient Truth’. Without pleasing him too much, these reports make my dad’s unwavering difficult-to-buy-for-attitude seem somewhat more justified. With a reported 8 million metric tons of plastic being thrown into the ocean each year, I struggle to think of a better reason to stick to what I’ve been so repeatedly told. What I mean to say is, I think the old man has a point and on this occasion, I’m not talking about Sir David Attenborough.

Jamie Bartlett is the co-founder of Banton Frameworks, alongside Lucy Ross. Inspired by the UK’s manufacturing past, their company is renowned for producing high quality goods that could last a lifetime. bantonframeworks.co.uk

Besides describing the difficulty of gift giving, this article is a means of describing the constraints by which I try to live.

Not necessarily just as a way of keeping a family tradition going but more a way of possessing fewer but better things.

My favourite industrial designer Dieter Rams – who, as a product designer, I’m unofficially obliged to cite – is known for his enduring design ideologies. His words are better known than Dad’s expression about things that are “decent”, but to large extent they very much align.

“Less but better.”

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MADE IN GLASGOW BY LOCAL HEROES Exhibition: Curator & Art Director: Stacey Hunter Exhibition Design and Build: Steff Norwood Graphic Design: Martin Baillie Public Relations: Owen O’Leary (Oh Really) Photography: Campaign studio photography

by Christina Kernohan — Project product photography

by Ross Fraser Mclean — Additional photography

by Francesco Tagliavia and Eoin Carey — Styling assistance by Kelly Pollard Partners: Glasgow Chamber of Commerce Funders: Creative Scotland Glasgow City Council NEWSPAPER Editor: Stacey Hunter Design: Martin Baillie Cover/endsheet illustrations: Emer Tumilty Print: Newspaper Club Articles: Jamie Bartlett Christy Cole Giulia Fiorista Laura Spring

For their outstanding design work and commitment to Made In Glasgow

by Local Heroes we’d like to thank the following designers: Jamie Bartlett, Ross Baynham, Isabella Bunnell, Soizig Carey, Rebecca Coyle, Scott Crawford, Alice Dansey-Wright, Alan Dibble, Alec Farmer, Giulia Fiorista, Emma Green, Jennifer Kent, Lynne MacLachlan, Gabriella Marcella, Mhari McMullan, Ruth Mitchell, Ciorstaidh Monk, Steff Norwood, Eleanor Paulin, Lucy Ross, Laura Spring, Cecilia Stamp, Pete Sunderland, Tatjana & Uli, and Emer Tumilty.

Local Heroes would like to thank the following individuals and companies for their involvement and contribution.

Freya Alder, Fiona Chautard, City Property (Glasgow), Centre For Advanced Textiles at The Glasgow School of Art, Rabiya Choudhry, Morven Cunningham, G . F Smith, Clive Gillman, Jenny Hazel, Hill Street Design House, Grace and Henry Hunter, Jennifer Hunter, Gary Kelly, Akiko Kobayashi, Gillian Lees, Hazel Lethaby, Faith Liddell, David MacLeod, Gary Mackay, Rowan Maginnis, Janine Matheson, Caitlin McMullan, Mischke Lingerie, Eilidh Patterson, Kelly Pollard, Stuart Patrick, Kerianne Quick, Paul Scharf, Yasmin Sulaiman, The Skinny, Aimée Van Breugel, Rosamund West, Helena Ward, Winter and Simpson Print.

— Extra special thanks to Martin Baillie, Steff Norwood and Helena Ward.

localheroes.design Facebook and Instagram: @localheroesdesign Twitter: @LocalHeroesScot

Local Heroes Design Exhibition Ltd, 38 Castle Terrace, Edinburgh, EH3 9SJ. Company Reg No: SC529282

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Made In Glasgow by Local Heroes is a celebration of design from Glasgow.

OSBO RNE S TREE T showcase of high quality This newspaper has been created to accompany our city design, which coincides with the Berlin / Glasgow 2018 European Championships.

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